Home » Jazz Articles » SoCal Jazz » Dave Weckl: The Cymbal of Excellence
Dave Weckl: The Cymbal of Excellence
Dave Weckl
drumsb.1960
Chick Corea
piano1941 - 2021
Mike Stern
guitarb.1953
Oz Noy
guitarAsked to do an interview, Weckl had one request. He wanted to present All About Jazz with the most comprehensive answers possible to our questions. To accomplish this I emailed him the questions and waited to hear back from him. To say it was worth the wait is well understated. It should come as no surprise that he took the time to research much of the information to make sure it was accurate and to a timeline. A veritable feast for drummers and other musicians, this is a fascinating read for any jazz fan. It is presented in Weckl's own narrative.
All About Jazz: A small boy growing up in the Midwest is drawn to rhythmically banging on things. Decades later he is at the top of the profession, one of the best drummers in the world, and his name is in the conversation when discussing the finest drummers in jazz history. Is much of this beyond your wildest expectations?
Dave Weckl: Honestly, I don't really think about it too much. Most of what you ask about is up to everyone else but me, as far as conversations, reviews, and comments. I just continue to do what I've always done, which is practice, play, and try to stay at the top of MY OWN game, and I'll do that for as long as I can. That is all I am in control of, so that is my responsibility.
I will say I am flattered if some folks think or say the positive things they do. It's of course nice to receive positive thoughts and comments from people that listen to me.
AAJ: Who were the drummers and/or other musicians that you listened to early in life that influenced you?
DW: SO many! Although I never thought about it, I'd probably have to say that the recently late, great
Hal Blaine
drums1929 - 2019
Pete Fountain
clarinet1930 - 2016
Jack Sperling
drums1922 - 2004
My dad then brought home a
Buddy Rich
drums1917 - 1987
Next were more big band and fusion records; Because of my High School big band 'career' (we had an award winning Jazz Ensemble at Francis Howell HS in Weldon Springs MO), and playing lots of charts from all the big bands,
Peter Erskine
drumsb.1954
Stan Kenton
piano1911 - 1979
Maynard Ferguson
trumpet1928 - 2006
Billy Cobham
drumsb.1944
Michael Brecker
saxophone, tenor1949 - 2007
Brecker Brothers
band / ensemble / orchestra
Herbie Hancock
pianob.1940
Harvey Mason
drumsb.1947
Mike Clark
drumsb.1946
Then circa 1976,
Tom Kennedy
bass, electricb.1960
Steve Gadd
drumsb.1945
Other fusion/jazz records infiltrated, like
Lee Ritenour
guitarb.1952
Pat Metheny
guitarb.1954
Louie Bellson
drums1924 - 2009
Al Jarreau
vocals1940 - 2017
Jeff Porcaro
b.1954
Vinnie Colaiuta
drumsb.1956
Gary Husband
drumsb.1960
Earth, Wind & Fire
band / ensemble / orchestra
Tower of Power
band / ensemble / orchestrab.1968
There's one other guy too ...
John J. DiMartino
drumsb.1940
I would say that these people mentioned here, had the most impact in my early stages. Later, in college, I was turned onto a lot of new and different music (for me), be bop/jazz players like
Tony Williams
drums1945 - 1997
Philly Joe Jones
drums1923 - 1985
Jo Jones
drums1911 - 1985
Max Roach
drums1925 - 2007
Jimmy Cobb
drums1929 - 2020
Art Blakey
drums1919 - 1990
Elvin Jones
drums1927 - 2004
Roy Haynes
drums1926 - 2024
Al Foster
drums1944 - 2025
Jack DeJohnette
drumsb.1942
Thad Jones
trumpet1923 - 1986
Mel Lewis
drums1929 - 1990
Gil Evans
composer / conductor1912 - 1988
Weather Report
band / ensemble / orchestra
Return to Forever
band / ensemble / orchestra
Mahavishnu Orchestra
band / ensemble / orchestrab.1971
AAJ:I know that the Stan Kenton band camps were instrumental(no pun intended) in learning your craft and shaping your style. Your long time friend and band mate, Tom Kennedy, recently had much to say about the impact they had on his career. Do you feel the same way? What made the Kenton camps special? Do you have a funny or genuine story or moment from that time in your life?
DW: Wow, it was a long time ago! 1975 was my first of three consecutive years there (after winning a scholarship from a High School Jazz Band performance). Tom and Ray had been there I think the year before, as well as here in '75, so they knew the ropes. I was new, young, and alone. But I met them soon, and tried to meld into the 'scene' there. I didn't get in the 'A' band my first year (did year 2&3), but Tom and Ray and I played a bit together and hung out, soon finding out that we lived relatively close to one another back home . This evolved into us getting together and playing quite a bit once back in St. Louis.
The Kenton experience was of course wonderful, but I honestly don't recall too much about the actual events there in particular. I do remember and know, however, what came out of it. Because of that camp, I met Neil Slater, and later went to Bridgeport University because he was the Professor of the Jazz Studies program there. My whole path developed from this decision. And the relationship that ensued with Tom and Ray after the camp was priceless and became very much a big part of my development as well . Also, stemming from that relationship, Tom introduced me to Jay Oliver whom I ended up
spending a lot of time with from ages 16-19, then again when he moved to NY with me in 1981 or so. We were always playing, and Jay was getting into engineering and music production as well, so that was huge as well for that end of my development. We have partnered on many projects over the years, and still do! And Tom and I play together quite a bit these days too. Wonderfully long lasting relationships!
AAJ: Instruction has played a major role in your life, as well, in sharing your knowledge and expertise with students all over the world. You have had a myriad of workshops and clinics over the years. Perhaps you could tell us about those. You most recently did workshops in Cuba. What was that experience like?
DW: Yes, I love the instructional aspect! I didn't, however, do workshops in Cuba. That was more of a Cultural Exchange program that had me interacting with Cuban musicians, young and old alike. It was an amazing experience... I have loved and studied Cuban music for many years, so it was very special to visit, and play with some of the musicians from the culture and life there. The musicianship is on a very high level in Cuba. I was blown away with high school jazz bands, orchestras, club and street musicians alike, that were just incredibly naturally talented. All on very sub standard gear. It was a very humbling, yet really wonderfully rewarding experience!
I have been teaching since I was a teenager, and doing clinics since the early 80's, which has expanded over the years in doing so for Sabian, Yamaha, Vic Firth and other endorsing companies world wide, as well as camps, such as the 'Drum Fantasy Camp.' I have always enjoyed sharing what I know to those interested. I have produced many Instructional videos and DVD's, with the latest project being my 'On Line School.' This is a streaming, subscription service on line, with more than 25 hours thus far of content, that includes a private FaceBook page, only for school members. It's developed into quite the community for all to share and discuss things.
AAJ: You opted to go to the east coast to attend college at the University of Bridgeport in Connecticut. Did it meet your expectations in preparing for a career in the music industry?
DW: As stated above, the connection with Neil Slater propelled it farther than it probably normally would have without that connection. I wanted to be close NYC (Bridgeport was an hour out), as that was where most of the musicians were living/playing that I was listening to, so it was a no brainier for me... the answer to the second question here is, YES. But, I didn't stay that long. I had started to leave the country and tour by my second year, so I did not finish or get a degree. But while there I studied with Ed Soph and Randy Jones, played in small groups and big bands with the school, studied harmony, theory and composition. I stayed on or near the campus my first two years, and in the summers, I had access the music building where my drums were locked up in a storage cage. I made it my practice space for those two summers and got A LOT of work done (10-15 hour practice days were the norm). It was a great experience.
AAJ: How did Peter Erskine factor into you breaking into the New York City jazz circuit?
DW: Peter is probably THEE primary reason that we are having this discussion today. Circa 1981, I was playing with a local Westchester NY group called Nite Sprite (also more or less formed out of the Bridgeport band experience)... the band was really good, a bit adventurous and different, writing our own material plus playing cool fusion covers we liked. It had some 'young depth,' I guess is the only way to describe it. Andy Bloch, the groups' guitarist, who is really a genius musician, was writing a lot for the band, as was
Dan Wilensky
saxophoneb.1961
We were well rehearsed and hungry... we (well, Jay and I) lugged all our stuff up the stairs at 7th Avenue South (Brecker's Club at the time) on April 15th, 1982, (I know the date, as I just looked at the poster I have framed in the office here!). Peter came along with Steve Kahn (Andy was taking some lessons from him) and they hung out and watched the show. That night/show was enough to give Peter the confidence to recommend me for the French Toast gig, which later became the
Michel Camilo
pianob.1954
Anthony Jackson
bass, electricAAJ: In 1983, at twenty three years of age and looking for a break, you get a chance to audition for Simon & Garfunkel. How did that come about? What was the audition like? What did that feel like to perform with them if front of 70,000 people?
DW: The audition came in the form of a live gig (with
Ronnie Cuber
saxophone1941 - 2022
Paul Simon
composer / conductorb.1941
Performing with S&G was just mind blowing. The band was awesome, with
Richard Tee
keyboards1943 - 1993
Gerry Niewood
saxophone1943 - 2009
AAJ: You have played with so many artists over the years, that it is almost difficult to single out any one or two. Having said that, you are perhaps best known by many for your work with Chick Corea. Can you even begin to describe what it is like to play with Corea and those cats in the Elektric Band? As recently as last year you did a reunion tour with all the original members. Any plans or possibilities of that happening again?
DW: The Electric Band was, and still is, a very special unit, that has only matured with time. We all have a great time getting back together, and it happens basically when Chick feels it to happen, so besides a date in September in Japan this year, I know of no other plans to hit again.
Playing with Chick was really a dream come true.. I had listened to and played along with a lot of his records (with Gadd on them mostly), so I was pretty well versed in his playing style, phrasings, etc. Together with
John Patitucci
bassb.1959
AAJ: I have had the great pleasure of seeing and hearing you play live several times. Most recently at both the Catalina Jazz Club in Hollywood and the Musical Instrument Museum in Phoenix. There are some subtle differences in your approach when playing with Mike Stern as opposed to Oz Noy. I can hear it, but can't put it into words. Perhaps you could. Also a different connect with Kennedy than that with Anthony Jackson or
Jimmy Haslip
bassb.1951
DW: Well, my playing (and sometimes equipment) changes and adapts to whomever I am playing with. It also has to do with the music style and the compositions. The biggest difference in playing with Mike versus Oz, besides the obvious compositional and playing differences, is the feel approach. Mike generally likes to have the feel be bright and on top. Oz has more of an exacting laid-back feel, so it is quite an adjustment go from one to the other. Oz also has many more textures than Mike, with his extensive pedals set up, so I find myself not having to look to fill missing textures where the music is concerned with Oz. Mike's gig is a bit more jazz oriented as well, whereas Oz's is more groove based, but still space to blow. Both are fun and challenging!
The bassist aspect kind of works into this overall musical approach difference. Everyone is different, so it affects how I hear and play things as well. It is part of the enjoyment of being in the moment with whomever you are playing with. Some moments are better or worse, or more comfortable or not, than others. But the challenge is to make it all work musically, and find the way to make it a positive situation with whomever you're playing with.
AAJ: You have released many fine records as a leader. There can be a substantial difference in the material from one record to another. Is this within the relevance of changing times or a desire to diversify or perhaps a combination of those things? How much do the leanings of particular musicians chosen to play on a given record determine the concept from the outset?
DW: When I first started to release records in the early 90's, they were 'project records,' meaning no real direction to accommodate a 'band,' or certain musicians. Jay and I wrote the material first, based on our own musical and creative ideas, then decided who would play on a given song(s)... at times we were writing with musicians in mind though, for sure, and hired them.
Starting with 'Rhythm of the Soul,' we started writing for a band project, one that we could play the material live and go on tour. That stayed the MO through my 'Stretch/Concord' years, with 3 different iterations of the band, and five or six recordings.
In recent years ('14,'15), I released two records, on what technically is my own 'label.' One was an Acoustic group (Dave Weckl Acoustic Band—Of the Same Mind), where we recorded and toured live. The other was another project recording with my old friend/partner Jay Oliver (same as all the early records), called Convergence. This was a mega project, that included crowd funding, instructional play along packages, and a very complete, but was well worth it. I'm very proud of both of those projects.
AAJ: You have played and endorsed Yamaha drums since 1983. That's a long relationship. What is it about Yamaha's product that makes it work so well for you? You also have a long standing relationship with Sabian, that includes product development. What's the skinny with that?.
DW: At the time I was learning and growing as a teenager, most of the guys I was listening to played Yamaha. It was kind of like a young kid aspiring to be a race car driver, watching all the F1 stars driving Ferrari when you were driving go karts. It was a goal to shoot for, to be able to use the best equipment when you got the chance!
My 'chance' came at the Simon and Garfunkel rehearsals. Yamaha was involved with others in the band, so they came to me too. I think I may have surprised them by saying something like; "I'll join, but you have to make me power tom sizes," which were the deep tom and kick sizes. I wanted them 'square,' meaning as deep as they were round (not the kick of course!). I had just had a custom made maple kit built that year, with the square type sizes, and they were killer for what I was doing at the time, which was small diameter toms. They agreed though!
The relationship has been strong, and although the ups and downs of a multi-national corporation (Japan/USA) can be trying at times, it has always been a 'win-win' situation for us. I've had signature snares with them, and always contribute to the continuing evolution in drum and hardware design. They help me out quite a bit with helping for tour equipment, clinics, etc. Their drums and hardware are some of the best out there, and they work for me very well, to allow me to perform and create, with a great deal of comfort and freedom. To me, the care in which the drums and hardware are designed and made are second to none, even with today's 'China made' equipment.
Sabian and I had a relationship that started around the same time, during the Simon and Garfunkel period. Communication issues (or lack there of!) had me move to Zildjian for a number of years, but product deficiency and company policy where 'signature lines' were concerned forced me to look elsewhere in the year 2000 or so. Sabian gave me the opportunity, as with many other of their artists, to create a signature line of cymbals. And did we create a line! Two actually. Today these lines (HHX Evolution and Legacy) remain two of their top selling lines, and remain standouts in the entire industry. We also started the 'Hole-y cymbal' craze, that now EVERY cymbal manufacture as emulated, in one way or another, with the HHX Evolution— OZONE—... Killer cymbal, copied but never equaled (in my humble opinion of course!)
AAJ: I know you have a lot on your plate. What are the highlights coming up in 2019 and beyond? A little birdie maned Leni told me that, Mike, Jimmy, and Lorber were in the studio with you and her, and that you are working on a new project. Is that something you can talk about or are we keeping that under wraps for the time being?
DW: 2019 is pretty filled up. I'm busy with co-leading bands with Mike Stern though the summer. We're currently on an EU tour now (April), then we go to China for a week in May, then back to EU for some summer festivals in July.
September will have me playing a couple shows only, with Chick in Japan, with both the E and A bands. I am working towards being in China mid to late September doing clinics, camps, classes and performances there. Early November I'll be back with Oz and Jimmy, and yes, early December will be the Stern/Lorber project tour in the USA.
I plan to start up my own projects and bands again in 2020. Stay tuned!
Photo credit: C. Andrew Hovan
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SoCal Jazz
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United States
California
Los Angeles
Dave Weckl
Chick Corea
Mike Stern
Oz Noy
Hal Blaine
Pete Fountain
Jack Sperling
Buddy Rich
Peter Erskine
Stan Kenton
Maynard Ferguson
Billy Cobham
Michael Brecker
Mike Clark
Tom Kennedy
Steve Gadd
Lee Ritenour
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Roy Burns
Al Jarreau
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Gino Vannelli
Graham Lear
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Mark Carney
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Phil Gould
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Earth Wind and Fire
Tower of Power
John DiMartino
Tony Williams
Philly Joe Jones
Jo Jones
Max Roach
Jimmy Cobb
Art Blakey
Elvin Jones
Roy Haynes
Al Foster
Jack DeJonette
Gil Evans
Weather Report
Return To Forever
Mahavishnu Orchestra
Jay Oliver
Michel Camilo
Anthony Jackson
Ronnie Cuber
Jerry Neiwood
John Patitucci
Jimmy Haslip
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