Phil Maturano here!

[Phil Maturano]

Just dropping in to say hello. I wanted to thank Bernhard again for putting a page up for me. It's a great honor. Tonight I am chilling out at my pad... reading through the threads and find many of them very interesting. I remember in my younger days...not having this amazing tool...the internet. Sites like this are an incredible source of information and we are very lucky to have it. To watch all the these great musicians in a setting like this...wow....what would it have been like for me to have this info as a kid? Amazing!! I hope to contribute some thoughts here as well..post questions etc...as time permits.

Anyway....If anyone out there lives in the UK or Europe, please check out my site for the latest info on my November / December Clinic tour. If you are interested in Latin music please don't hesitate to drop me a line and say hello. You can hear some music on my myspace site or check out more clips from my DVD on my site.

Would love to have some more clips here. if you want to link them from my site its no problem:-)

All the best.
Phil Maturano
www.philmaturano.com
www.philmaturano.com/blog
www.myspace.com/philmaturanodrums

[Ozzy Biz]

Welcome to D.W. It's great to have another professional join the forum, especially one who has his own page (http://drummerworld.com/drummers/Phil_Maturano.html). Hope to see you around ehre a bit more.

Biz

[rendezvous_drummer]

Awesome!! Welcome to drummerworld. It's seriously the greatest place on the net. And wicked drumming! I checked out your myspace and I'm really enjoying your music.

[Phil Maturano]

Hey thanks for the warm welcome guys. And thank you for the kind words about my playing. It's a great feeling when my fellow drummers enjoy the music.

I will do my best to be a part of the forums.
All the best.
P

[Bernhard]

Welcome Phil. Great to have you on board.

Bernhard

[Phil Maturano]

Hey thanks bro! I wish i could get over to Switzerland on this upcoming tour. We could hang big time out there! hahaha.

I will look into some places and see whats going on. What town do you live in?
I was out there in Zurich last year, but gigging, and didnt get a chance to hang. On a clinic tour sometimes there is more hang time. Hopefully we can meet!!
Alright bud,
Abrazos
Phil M

PS If you want to post more clips I can send you stuff. No problem:-) also...happy to answer any questions about Latin from people here on the forum. I get allot of email though and it might take a few days...But i will answer for sure!

[Bernhard]

great - i live in Basel - border to France and Germany

Just at the moment I left to Egypt for two weeks....talk later....

Bernhard

[Phil Maturano]

right on bud...By the way...I am cracking up so hard with that Rita Moreno and Animal clip!! HAhahaa...Thanks for posting it.
Have a great time in Egypt.
Regards
pm

[shuffle]

Wow...Great to have you here !

I really want to congratulate you for your book "latin soloing for drumset".

There are so many exercises I worked on in that book. This is how I started to understand the relationship between cut-time and 6/8. Your control and feel on the demo CD is just so impressive.... I can't see the day where I'll be able to play the exercises as you do....

[Garvin]

Welcome Phil. I just started working on your book Latin Soloing for Drumset again. I've had it for a couple years and use it as a reference when I get stuck in a rut. Your playing is awesome and I really appreciate the exercises in that book a lot. It's great to have someone like you on the forum since to my knowledge there is no one else at your level of expertise with an open thread as of yet. Again thank you and welcome!

P.S.

Okay I also have a question regarding the clave. When I first started listening and playing Afro-Cuban music I was very much an outsider. In the last 6 or so years I've listened, played and really tried to internalize the clave. I know in the folkloric stuff I've done, clave is very important. My question for you is this: As a kit player in a less traditional setting, how strictly do you apply clave? For instance in a Latin-Jazz setting, playing with non-percussionists who have only a peripheral understanding of Afro-Cuban music, do you stick to the clave all the time, or do you just follow the music and check in with the clave from time to time?

I hope that reads okay (it's early)

Oh, one more thing... Have you met or played with a percussionist named Chris Trujillo? He's a timbalero from LA, but now lives in the Southwest. Just curious.

Thanks Again!

[drumbum1977]

Hey Phil,
Coming to Canada any time soon?

[Phil Maturano]

Originally Posted by Garvin

Welcome Phil. I just started working on your book Latin Soloing for Drumset again. I've had it for a couple years and use it as a reference when I get stuck in a rut. Your playing is awesome and I really appreciate the exercises in that book a lot. It's great to have someone like you on the forum since to my knowledge there is no one else at your level of expertise with an open thread as of yet. Again thank you and welcome!

P.S.

Okay I also have a question regarding the clave. When I first started listening and playing Afro-Cuban music I was very much an outsider. In the last 6 or so years I've listened, played and really tried to internalize the clave. I know in the folkloric stuff I've done, clave is very important. My question for you is this: As a kit player in a less traditional setting, how strictly do you apply clave? For instance in a Latin-Jazz setting, playing with non-percussionists who have only a peripheral understanding of Afro-Cuban music, do you stick to the clave all the time, or do you just follow the music and check in with the clave from time to time?

I hope that reads okay (it's early)

Oh, one more thing... Have you met or played with a percussionist named Chris Trujillo? He's a timbalero from LA, but now lives in the Southwest. Just curious.

Thanks Again!

HI bro....well first thank you for the kind words about my playing. Appreciate it:-)
Glad you are enjoying the book too! That book was truly a labor of love. Took a very long time to write and was very $$$$$$$$$$ hahaha. Faaaaantastic players on there made the whole thing come to life.

Chris Trujillo. I have heard of him, but I don't think we have met. I am sure he's great. I heard he's great too so.

As far as the clave thing goes. When I am playing in a Latin jazz setting, I still keep the clave in mind of course. If anything...in the circumstances you are describing...you should try and keep it in mind because of your own phrasing. If you are always in clave it will help the tune in general. If phrasing in clave is embedded in you then you wont have any trouble with this. Also, there will be a day when you play with people in a latin jazz setting that might be into the whole clave situation allot more. Might as well be ready for that day! Keep the clave in mind always, except...for when composers are taking what is known as "clave license" - That means they write in sequences that don't line up with the clave or disregard clave altogether in their playing. I have found that it does no good to be a member of the bitter "clave police" haha...especially if playing with players who are great but don't necessarily have the knowledge. Just enjoy the grooves and keep the clave to yourself, for your most inner thoughts and expression.

Another thing that comes up allot is that maybe...(I don't know in your case) ...people have been told or have been given many strange notions about clave. What the clave really is. It may be that simply...you might have to help out your band mates and try to turn them on to the whole clave concept. If you do it in a diplomatic and friendly way, it could be more enjoyable for you to play with them. Like I said , I don't know the whole situation in that particular setting you mention, but those thoughts always helped me:-) I hope that helped! Feel free to ask me any other questions you might have. I answer as soon as possible.

Clave = Key
Love = Clave

Peace
PM

www.philmaturano.com
www.philmaturano.com/blog
www.myspace.com/philmaturanodrums

[Phil Maturano]

Originally Posted by drumbum1977

Hey Phil,
Coming to Canada any time soon?

Hi drumbum, I hope soon! No gigs out there yet this year but....I am working with Taye Drums now. We are getting to know each other still but I am sure the opportunity to play out there will come around. Usually any bigger events are posted on my website or myspace site. Hope you'll stay in touch. Where are you exactly?

Best
PM

[Phil Maturano]

Originally Posted by Ozzy Biz

Welcome to D.W. It's great to have another professional join the forum, especially one who has his own page (http://drummerworld.com/drummers/Phil_Maturano.html). Hope to see you around ehre a bit more.

Biz

Thanks for the welcome ozzy! I'll try to check in more often.
All the best to you.
PM

[Phil Maturano]

Originally Posted by shuffle

Wow...Great to have you here !

I really want to congratulate you for your book "latin soloing for drumset".

There are so many exercises I worked on in that book. This is how I started to understand the relationship between cut-time and 6/8. Your control and feel on the demo CD is just so impressive.... I can't see the day where I'll be able to play the exercises as you do....

Wow thanks shuffle! It really means allot to me that you enjoy the book. As I mentioned in another response...that book took about 10 years to write. Tons of money to record and produce. Originally it was a Video so you can imagine!! The players on that made the whole thing just really come to life. Luis Conte, Abe Laborial, Billy Childs!! Thats only a few of the cats....WOW what a line up! I was very fortunate to have them.
My publisher wanted to make it a book. It really bummed me out at the time but ...oh well. We had no internet back then. Not good enough to distrubute the method so...I had to agree.
At the time I was exploring those concepts there was nothing to draw from. Except the music of course, but ways of explaining...exercises and the whole system...nothing. It took years and years to develop that method. Although the central action itself (the mixing of cut time and 6/8) is nothing new...there were no systems to develop this phrasing...no ways of explaning the phrasing. Especially for the western drummer, on a KIT! In researching material for that, I had the chance to speak with lots of people with a deep love for drumming - ethnomusicologists, (many specializing in African music) Historians and of course other musicians. I had to make sure that what I was saying was accurate and could be applied in a western setting. It was a great experience to write it. I learned so much by doing that. When i finally finished the whole thing and put it in a book, I took it to to one of the greatest teachers i know. Steve Houghton. He told me...re-arrange this, put that there, take this out, say this like this and so on and so on.
it's amazing how much he helped in the layout and final touches. Its amazing how many people actually...take part on each project...the phases it goes through and the unbeleivable amount of time and care that goes into books and DVD's -

I look back on those days and I think ...boy I really stuck my neck out on this one! I was pretty nervous about it. But people loved it and the drumming community received it very very well.
Man...thank you again for checking it out. If you have any questions about it. I am happy to answer.
Best to you
PM

[Phil Maturano]

Originally Posted by rendezvous_drummer

Awesome!! Welcome to drummerworld. It's seriously the greatest place on the net. And wicked drumming! I checked out your myspace and I'm really enjoying your music.

Thank you bro...Do you you have a myspace site? Please friend request me if you do.
All the best
PM

[Wegadrummer]

Welcome welcome too drummerworld.. Love your latin stuff..

[drumbum1977]

Originally Posted by Phil Maturano

Hi drumbum, I hope soon! No gigs out there yet this year but....I am working with Taye Drums now. We are getting to know each other still but I am sure the opportunity to play out there will come around. Usually any bigger events are posted on my website or myspace site. Hope you'll stay in touch. Where are you exactly?

Best
PM

Right in the middle...Winnipeg. Great place to come in summer, but be careful if you are here in the dead of winter!

[Phil Maturano]

Originally Posted by drumbum1977

Right in the middle...Winnipeg. Great place to come in summer, but be careful if you are here in the dead of winter!

Lots of ice skating out there? hockey? Ski? ice diving! I actually love winter time! i had the chance to go ice diving in Sweden a few years back but...totally chickened out! When the boat arrived at the dive spot...it was scary! Ice frosting over the gear, mouthpeice etc...wwoohaaa!! Now i would never let a chance like that go by again. I am a bit freaked when the ol' limbs start to go numb though! hahaha
Regards
PM

[Phil Maturano]

Originally Posted by Wegadrummer

Welcome welcome too drummerworld.. Love your latin stuff..

Greetings Wega'
thank you for the kind words! Lets hope we get to hear you doing the latin thing soon!!
Warm regards
Phil M.

[Garvin]

Phil. Why the change to Taye? I know all high end drums are gonna pretty much sound great. Just wondering cause I thought you use to play GMS , then Pearl. Do different companies approach you or are you approaching them?

Also, how can I get a copy of your new DVD here in the US? I can't seem to find it anywhere.

[Phil Maturano]

Originally Posted by Garvin

Phil. Why the change to Taye? I know all high end drums are gonna pretty much sound great. Just wondering cause I thought you use to play GMS , then Pearl. Do different companies approach you or are you approaching them?

Also, how can I get a copy of your new DVD here in the US? I can't seem to find it anywhere.

Hi Garvin, you can only get the DVD through me! it's not in stores. I am thinking about a distribution deal but so far with the net, its going fine! If you go to my website just follow the products link and you can buy it there. I ship it to you right away, in a couple of days its at your door!:-)

The switch to Taye....its a veeeeeeery long story. Briefly....When I made the move to NY I found that my gear was not able to cut the scene out here, what I wanted was very different. In NY nobody cares if you're famous or have a million endorsements. If no one likes the sound you put out...you don’t get called. it all starts with your gear. There is a definite "sound" in NY. I love that sound. I happen to love those Taye drums and the whole thing came together when I switched cymbal companies. I switched last year to a very very good company called Anatolian, based in Europe. The Anatolian distributor told Ray Ayotte I was changing everything and it snowballed from there. There has to be a mutual benefit between the people involved. When any of those factors don’t line up...the relationship is over. It was time for a new start on many levels so.... that’s how it happened in short form:-)
Usually either distributors contact me or the companies directly. Artist rep's or other drummers that are on the roster tell them about you and that’s how those things happen. Well for me anyway:-)
pm

[jazzsnob]

Phil- A lot of young(and talented no doubt, but misguided) drummers these days seem to memorize as many fancy sounding afro-cuban indepenence excercises as they can, and tons of kids have learned left foot clave for no reason other than"it's hard and impressive. " But none of these kids feel right. Any suggested listening and play-along material as far as getting the time feel and the attitude right? I know that my samba, bossa and mambo feels all need work and I don't have a lot of good records with those rhythms on them. The main album I play along to for this stuff is Cal Tjader's "Monterey Concerts" and it has some amazing bell playing from Willie Bobo, but that's about it. Any other suggestions would be much appreciated.

[Phil Maturano]

Originally Posted by jazzsnob

Phil- A lot of young(and talented no doubt, but misguided) drummers these days seem to memorize as many fancy sounding afro-cuban indepenence excercises as they can, and tons of kids have learned left foot clave for no reason other than"it's hard and impressive. " But none of these kids feel right. Any suggested listening and play-along material as far as getting the time feel and the attitude right? I know that my samba, bossa and mambo feels all need work and I don't have a lot of good records with those rhythms on them. The main album I play along to for this stuff is Cal Tjader's "Monterey Concerts" and it has some amazing bell playing from Willie Bobo, but that's about it. Any other suggestions would be much appreciated.

Hi Jazzsnob. Yes you are right. As long as they are messing around with Latin, it’s cool I guess. It’s a huge jump from playing a few patterns and learning a few beats with left foot clave, to actually getting to the point where you’re able to function in the music. Let alone solo over the clave. Part of the problem is that the way people are taught to play this music is generally flawed. There is also the problem that many of the players of this music dont understand the "western" players needs. There are many books and videos that show u patterns. But patterns alone will never get you to where you need to go. To really develop a proper feel and vocabulary especially in Afro-Cuban music, you have to get into the world of African music. The African language, an extremely deep and generally mysterious world is what’s missing in almost every Western drummers vocabulary that I hear. For the Western drummer this is a particularly difficult problem, since there is a great lack of teachers that show you how to do this. Now … I don’t want to turn this into a self promotion, but I have not seen any method that shows Drumset players how to obtain this beautiful feel, other than Efrain Toro’s and my own. Sorry, I hate to say that because it does sound like self-promotion, but it’s true. No amount of independence exercises are going to give you the phrasing necessary to sound authentic and play in clave. Beats and patterns are never ending, and also do not provide the tools to develop the necessary language. I finally realized this myself when certain key people finally took interest in my genuine struggle to learn and hipped me to this fact. I am myself a westernized player so I’m very aware of the struggle.
What I am going to do is post the central theory of my RTS method for you here in the hopes that people might really get a chance to learn the concepts that changed my life in Latin drumming. You can also go to myspace site, or my website and watch a clip from my DVD called RTS- The secret language.
Here is the RTS clip
http://www.youtube.com/watch?v=rE-24OG83Ms
Also I created a youtube site...http://www.youtube.com/philmaturanodrums where there are lots of clips from my DVD. Hope you enjoy and i hope it was helpful....and thank you for asking.

Another issue is listening to music. The first thing i suggest to everyone is to start listening to BATA music. Also to get every recording by Muñequitos de Matanza. Of course...the problem is, without a method for absorbing this vocabulary...you will be sitting there for years wondering..."what the heck are those guys playing?' hahaha...that happened to me as well so ...You have to know "how to listen" and "what to listen for"

Many warm regards
Phil M.

PS Attached to this post is the RTS theory written out. In PDF form. It is from an article i wrote for Drummer magazine in the UK. You can also find more extensive info on that in my book "latin soloing for the drumset"

[Garvin]

Phil,

Great post there and great suggestions. We had Los Muñequitos out here a couple of years back and spawned a folkloric Afro-Cuban group out of that experience. We learned a bunch of Orisha songs and rhythms from John Amira, and had a Djembe Fola from Guinea out here during that whole time, which opened a bunch of doors for our small drum community. All of that exposure to the connection between Ifa religion and Cuba really helped me approach it with a lot of respect. It's taken me a long time to appreciate the music in a secular sense and we always had a hard time straddling that line. A couple of guys didn't want to bring the Bata into bars, so we really kept that more to ourselves.

The biggest thing that came out of that experience for my playing was respecting the boundlessness of the African concept. There is no one for those guys, and everything is completely open within the context of specific rhythms. 4/4 6/8 etc... That just didn't exist to them, it was completely limitless.

Also I worked out of that book "Timbafunk", by Michael Spiro etc... and was wondering if you might give us a brief description in your own words on the Timba concept.

Also, Milton Cardona's album "Cambucha" has some great Bata, Bembe, Orisha stuff in it for anyone who hasn't heard it.

Okay sorry that was a rambler...

[Phil Maturano]

Originally Posted by Garvin

Phil,

Great post there and great suggestions. We had Los Muñequitos out here a couple of years back and spawned a folkloric Afro-Cuban group out of that experience. We learned a bunch of Orisha songs and rhythms from John Amira, and had a Djembe Fola from Guinea out here during that whole time, which opened a bunch of doors for our small drum community. All of that exposure to the connection between Ifa religion and Cuba really helped me approach it with a lot of respect. It's taken me a long time to appreciate the music in a secular sense and we always had a hard time straddling that line. A couple of guys didn't want to bring the Bata into bars, so we really kept that more to ourselves.

The biggest thing that came out of that experience for my playing was respecting the boundlessness of the African concept. There is no one for those guys, and everything is completely open within the context of specific rhythms. 4/4 6/8 etc... That just didn't exist to them, it was completely limitless.

Also I worked out of that book "Timbafunk", by Michael Spiro etc... and was wondering if you might give us a brief description in your own words on the Timba concept.

Also, Milton Cardona's album "Cambucha" has some great Bata, Bembe, Orisha stuff in it for anyone who hasn't heard it.

Okay sorry that was a rambler...

Ramble on bro! you sound like you really know what the deal is! Great to hear about your experiences. And thank you for the reference material.

As far as that book you menioned, i am not familiar with it. The whole timba thing is amazing. Its a pity that it didnt really take off in the rest off the world. I guess it was just to regional. Now we are stuck with reggaeton....what a drag! Hahaha....
Many people say that the Buena vista social club movie came and wrecked the whole scene. Because people then thought that was the extent of Afro cuban music. There was no reference at all to more contemporary music styles in that film. Pity.
Mixing funk and Afro cuban music has been around a long time, but timba, that particular style really made it just beautiful! the independence required for timba takes all the afrocuban drumset stuff up another notch!

Can you tell me if all the links are working properly?
Regards
PM

[Garvin]

Many people say that the Buena vista social club movie came and wrecked the whole scene. Because people then thought that was the extent of Afro cuban music. There was no reference at all to more contemporary music styles in that film.

You know, it's so interesting how that happens in music, particularly world-music and jazz. It's like once someone comes along with something that becomes commercialized to the extent that say the Buena Vista Social Club was, all the sudden that's the bar that the music is set at. It's the same thing with Ali Farka Toure in my mind and the whole Putamayo label in general. I appreciate that they are bringing these contemporary artistis onto people's radar, but there is so much more to it that this one style of music from this one guy in Mali. Mali is a freakin' hotbed of contemporary West African music, but all anyone knows is Ali Farka Toure (may he rest in peace). I guess the hope would be that folks eventually say "where did this sound come from, and who else might be doing something like it?"

But back to Buena Vista. The stuff that they did is certainly important, and it opened people's ears to a sound which was all but completely obscured to American society at large, and for that it was great. But like you say, people are in danger of thinking, "Oh I know all about Afro-Cuban music cause I bought their album". But then what happens when they hear Deep Rumba, or any of the American Clave guys, or even one of Michel Camilo's old albums, or some of your stuff? Their brains will explode!

I think the important thing is for people to realize that musical genre's are artificial things that we create in order to separate all of the stuff that people buy. But there is a commonality between all music and when you open up to everything and realize that music is music and with the right intention, you can combine or evolve in any direction that you want, it becomes beautiful and harmonious as it should be.

I wonder if the evolution of Afro-Cuban music is subject to the same types of restrictions that I see in American Jazz, or Popular music for that matter. To me, it appears to have been a lot more fluid. But maybe that's because I am more of an outsider and haven't taken part in that dialogue as much.

Have you had any debates like this among folks in the scene in NYC?

[Phil Maturano]

Originally Posted by Garvin

You know, it's so interesting how that happens in music, particularly world-music and jazz. It's like once someone comes along with something that becomes commercialized to the extent that say the Buena Vista Social Club was, all the sudden that's the bar that the music is set at. It's the same thing with Ali Farka Toure in my mind and the whole Putamayo label in general. I appreciate that they are bringing these contemporary artistis onto people's radar, but there is so much more to it that this one style of music from this one guy in Mali. Mali is a freakin' hotbed of contemporary West African music, but all anyone knows is Ali Farka Toure (may he rest in peace). I guess the hope would be that folks eventually say "where did this sound come from, and who else might be doing something like it?"

But back to Buena Vista. The stuff that they did is certainly important, and it opened people's ears to a sound which was all but completely obscured to American society at large, and for that it was great. But like you say, people are in danger of thinking, "Oh I know all about Afro-Cuban music cause I bought their album". But then what happens when they hear Deep Rumba, or any of the American Clave guys, or even one of Michel Camilo's old albums, or some of your stuff? Their brains will explode!

I think the important thing is for people to realize that musical genre's are artificial things that we create in order to separate all of the stuff that people buy. But there is a commonality between all music and when you open up to everything and realize that music is music and with the right intention, you can combine or evolve in any direction that you want, it becomes beautiful and harmonious as it should be.

I wonder if the evolution of Afro-Cuban music is subject to the same types of restrictions that I see in American Jazz, or Popular music for that matter. To me, it appears to have been a lot more fluid. But maybe that's because I am more of an outsider and haven't taken part in that dialogue as much.

Have you had any debates like this among folks in the scene in NYC?

Hey bro...Sorry for the delay in answering...was out of town and no net access.
Actually I have not had many conversations like that. I wish it was more. I have to agree with your assessment on the evolution of Afro-cuban music. It's much more fluid. maybe the more the Internet takes over the job of music distribution the better off we will all be. This might lead to better evolution of styles In America, not influence by commercial interests. I for 1 can't wait for the day when all labels are extinct and the distribution of music flows freely over the Internet. Controlled solely by the artist.
People need to get used to that concept though and it may take a while. its working on some of level. I probably should take more of an active interest in music production. Drumming itself requires such a huge amount of your time that its difficult to keep an eye on all these other things. At least for me.

By the way it seems that you know a lot African music in that region. can you recommend some more for me? I can never get enough of it.
all the best.
Phil.

[Garvin]

Hey Phil, nice to hear from you again... I'm on vacation in the Northwest and have been offline for the last few days too.

Anyway, a couple of quick absolutely must have's from West Africa... Any of Habib Koite's albums. Mosu Ko, Maya, and Baro are all I know of. Not to over-sell it, but I can promise that you will listen to these over and over until the day you die, absolutely beautiful and flawless albums in every way. Check em' out, I garauntee 100% satisfaction. Anything you can find by Oumou Sangare is going to be good as well. Rokia Traore is super beautiful and mellow. Brice Wassy is a really intersting artist from Cameroon. Of coure then you have Fela Kuti, Salif Keita, Yossou N'dour, and Baba Maal who are all extremely well established, and I'm sure you've heard of them.

I'm pretty psyched actually because while I'm up here visiting my sister, Fode Bangora (djembe fola from Les Merveilles de Guinea) is having a workshop in town, I'm going to that tomorrow night... He is actually based out of NYC too!



Peace!

[jazzsnob]

Wow Garvin, my friend's dad had Habib and his band over for dinner last night and I went and hung out. They're a pretty awesome crew, I must say. The music they put on was pretty amazing. I'm just mad I didn't get to see them play in person, and that I don't speak french. The percussionist only spoke french but when one of his friends said I was a drummer he seemed really and started playing these beautiful polyrhythm things on the tabletop with his hands. I am a white, westernized drumset player, and I was(not surprisingly) awestruck. I know that's kind of a generic story, but it was SWEET. He's playing in SF a few times this week, I'm gonna try and go see him.

Anyway, one thing I must say Phil-I just watched you're entire presentation to the Meinl festival on your youtube thing, and I must say I found it very inspirational. You are a very good clinician and teacher and I'm buying your damn book. :)

[Garvin]

That's awesome jazzsnob! Don't miss the chance to see him live. It's awesome that they are still touring in the US, I'll have to keep an eye out.

[Phil Maturano]

Originally Posted by jazzsnob

Wow Garvin, my friend's dad had Habib and his band over for dinner last night and I went and hung out. They're a pretty awesome crew, I must say. The music they put on was pretty amazing. I'm just mad I didn't get to see them play in person, and that I don't speak french. The percussionist only spoke french but when one of his friends said I was a drummer he seemed really and started playing these beautiful polyrhythm things on the tabletop with his hands. I am a white, westernized drumset player, and I was(not surprisingly) awestruck. I know that's kind of a generic story, but it was SWEET. He's playing in SF a few times this week, I'm gonna try and go see him.

Anyway, one thing I must say Phil-I just watched you're entire presentation to the Meinl festival on your youtube thing, and I must say I found it very inspirational. You are a very good clinician and teacher and I'm buying your damn book. :)

Thank you very much Jazzsnob. If there is one thing that is important to me it's being a good teacher. Being able to communicate information about drumming. If we dont have that with each other, our art suffers. So I really appreciate your words.

If anyone is intersested...i posted some stuff from my next book on my blog
http://www.philmaturano.com/blog/
Left foot clave concepts, audio and pdf files all there for you.
All the best
pm

[GruntersDad]

Great Latin clips...the world needs to hear more in my opinion.
Also nice to see another set of Taye drums. Mine are much less expensive but I wanted to try something different and they fit my budget. Thanks for stopping by.

[LinearDrummer]

Hey Phil welcome to the site!

I actually bought your DVD but it wouldn't play in my recorder so I was able to go to pro-drum shop and excange it for your Latin soloing book....which by the way is a VERY good book...

I definetly want to check you out live so please feel free to let me know when your playing in the L.A. area.....

[jazzsnob]

Originally Posted by LinearDrummer

I definetly want to check you out live so please feel free to let me know when your playing in the L.A. area.....

Ditto but in San Francisco

[kenshiryu7]

hey phil

i got your dvd. Great work. One thing Iv'e always wanted to understand is what do latin drummers use as fills. Do you guys use a lot of particular rudiments? If you ever come to miami i gotta see you play. Some killer stuff.

[NUTHA JASON]

hi phil

i'm asking all the pros this question. i think the answers could be very instructive to many of us.
let's say there was a totally new drum rudiment that was suddenly discovered and was so totally applicable that any drummer worth their salt would quickly try to learn it, master it and use it in recordings and gigs. this hypothetical new rudiment is quite hard to play and totally unrelated to any other rudiment. it is so good that you know that the next time you sit in on a session the writer is probably going to ask you to use it somewhere in their song.
my question is: starting from scratch what would be your way of learning it?

thanks
j

[NUTHA JASON]

hi phil

sorry to load you up with questions when you get back on the forum but here's another one...

in the August 1992 issue of modern drummer there was a great and useful article titled: THE 25 GREATEST DRUM RECORDS. because of it i bought steely dan's AJA in a time when i was almost exclusively addicted to AC/DC.
they wrote this article by researching across the industry but in particular they asked some of the top guys for their top ten selections. i'm hoping to do a similar thing here on DW and post the reults in a separate thread eventually.
So if you would be so kind please give us a list of your own top ten (perhaps your current top 10) records/albums. it would be helpful if you identified your favourite out of those and dropped in a line why it is so...but this is not totally necessary. think of it like if you were going to be locked in a remote log cabin for a whole winter, which 10 albums would you take, if 10 were all you could take?

thanks
j

[Phil Maturano]

Hello all, and thank you so much for the emails and kind words. Thanks to Bernhard also for showing up over at HOD and putting his 2 cents on that ugly situation over there. Admirable!

I wish was more time to answer all questions but I am totally swamped, preparing for the new tour, mixing my new CD (due out at FFMM) and trying to keep practicing. Sleep deprived and jet lagged, not a good feeling...but AT THE SAME TIME...A GOOD FEELING! LOL

For those of you who are asking, I will be in the UK and Europe, late March and through the entire month of April. Clinics, gigs and recording. If you would like to arrange for a private lesson just send me an email and i am sure we will find the time! There are many already taking place so I can organize it easily. I have free time in London on the 26th of march, if anyone out there wants to hook up.

As far as 10 top favorite , desert island stuff goes. Man....that is tough, but one thing i could probably not be without for sure is "Fundamento Yoruba - Papo Angarica"
Anything by Muñequitos....
things in that spectrum.

I look forward to meeting cats at the FF Music show and Bernhard...We need a beer together:-)
Big hugs
PM

[Bernhard]

Originally Posted by Phil Maturano

I look forward to meeting cats at the FF Music show and Bernhard...We need a beer together:-)
Big hugs
PM

We will hopefully meet at Box of tricks - received an invitation.

Is there good beer in Germany? no idea - WE WILL CHECK OUT of course......

Great

Bernhard