SINCE FIRST GAINING PROMINENCE AS THE DRUMMER FOR CHICK COREA’S ELECTRIC BAND FROM 1985-91, DAVE WECKL, HAS CARVED A CAREER NOT ONLY AS A LEADER OF HIS OWN FORMIDABLE GROUP, BUT HE’S ANCHORED THE SHIP FOR ARTISTS SUCH AS MIKE STERN AND JEFF LORBER, WITH WHOM HE IS TOURING WITH (ALONGSIDE JIMMY HASLIP) IN SUPPORT OF THE PAIR’S RECENT COLLABORATION ELEVEN.
SUCH AN INTENSIVE AND MUSICALLY DEMANDING STYLE OF MUSIC WOULD SEEMINGLY ATTRACT THE MORE AGGRESSIVE TYPES OF MUSICIANS AND FANS, BUT MR. WECKL ESCHEWS THE STEREOTYPE. WHILE HIS CAREER IS USUALLY KNOWN FOR AN ASSERTIVE STYLE OF DRUMMING, HIS INNER MAN IS REFLECTIVE OF A MAN WHO HAS REFLECTED ON THE LONG HAUL IN LIFE, SEEING LIFE AS MORE OF A MARATHON THAN A SPRINT.
THIS IS REFLECTED IN THE FACT THAT WHILE JUST ABOUT TO TURN 60, WECKL IS AT A PERSONAL AND MUSICAL RENAISSANCE, NEVER PLAYING BETTER AND FEELING BOTH EMOTIONALLY AND PHYSICALLY ENERGIZED AT A TIME WHEN MANY ARTISTS START SLOWING DOWN.
WE HAD A CHANCE TO CATCH UP WITH MR. WECKL, WHO WAS PATIENT, WELL MEANING AND THOUGHTFUL IN HIS REFLECTIONS ON BOTH MUSIC AND IT’S IMPLICATIONS.
DRUMMING IS THE MOST PHYSICAL OF ALL MUSICAL TASKS. YOU LOOK LIKE YOU’RE IN GOOD SHAPE. WHAT DO YOU DO TO KEEP ABLE TO PLAY?
It takes concentration on diet and exercise. I don’t do anything crazy, but when I’m home and can get into a schedule I usually go to the gym three times a week, or I work out at home, and I fast-walk a lot. I just try to keep moving!
Stretching is important. My wife keeps pounding me to stretch more, so I’ve been doing it more, especially before I play and after I exercise. It’s an important aspect to keep the body limber.
Diet is a big part of it; I’m vegetarian except for fish. Once I stopped eating meat, chicken too, my whole joint pain issue subsided fairly drastically, and my body just works better, so I’ve kept doing it.
DO YOU DRINK TEAS OR ANYTHING LIKE THAT?
Besides English Breakfast most mornings, no, not really. I’m married to an Italian woman, so she gets me a lot of plant-based supplements that I take, mostly all of them down the herbal path. I’m not too keen on the Western medicine approach, and the last ten years it’s been working out real well for us. I’m feeling pretty good.
SOMETHING PEOPLE DON’T APPRECIATE ABOUT DRUMMERS IS THEIR RELATIONSHIP WITH BASSISTS. WHAT DO YOU LOOK FOR IN A BASS PLAYER?
Not only in bass players, but first of all it’s their understanding the function of the instrument. That means the playing approach, so that there’s a bottom foundation going on for the music, and that the sound characteristic is “bass-like”.
(laughs) Some players have a real midrange sound and may play a lot of notes but the function of the bass will get distorted or lost sometimes.
So, the important things are the sound and the level on stage, so that is a pleasing mix. After that it’s just preparedness: learning the music and understanding the forms and having that musical support that goes along with my ideas as a drummer and certainly the composer or band leader.
Most of the things that I do have come from a jazz place. So if there’s soloing involved where a bass player is concerned, having a lot of jazz history is helpful as well as coming from a place of a lot of study.
That’s one thing in a bass player that is rare, and Tom Kennedy, whom I play with quite a lot, has that more than most. He’s either in my group or we play together in other things as well. We’re actually co-leading a group in 2020 to support his new record that I played on, mixed, and co produced.
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“I tend to gravitate towards what I’ve always gravitated towards, and that is a deep understanding of the history of musical styles”
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THAT IS A RARE FEAT TO PLAY WITH ONE BASSIST SO MUCH. HOW DID THAT DEVELOP?
We’ve developed a chemistry since we were 15 years old; that’s a long time together and we’re still the best of friends.
We have a lot of similarities with culture. We grew up in the same town (St. Louis) and were exposed to the same musical things at the same time, although Tom comes a bit more from the Jazz Head than I do. We both like the same types of things, which is a diverse menu of styles and cultures of music.
YOUR RELATIONSHIP IS LIKE PITCHER STEVE CARLTON AND CATCHER TIM MCCARVER, WHO TRAVELED TO DIFFERENT TEAMS TOGETHER IN THEIR CAREERS. WHEN ANOTHER PLAYER IS ON BASS, DO YOU COMPARE HIM TO TOM?
I don’t do that. It’s not a comparison or competition thing. I don’t catch myself thinking “I sure wish Tom were here” (laughs).
I get to play with a lot of great bass players. I just look at it as enjoying the positive aspect of the moment, and that I’m blessed to be able to play with so many wonderful players. I get to work with guys like John Patitucci, Jimmy Haslip, James Genus and so many guys in the past when I was in New York and doing club dates with the likes of Anthony Jackson, certainly one of the greatest of all time, and definitely different as far as the status quo goes. In his own words, he’s “Not a bass player, but a contrabass guitarist”. (laughs)
Back in those days I got to play with the likes of Marcus Miller, Will Lee, Victor Wooten, Richard Bona, the cream of the crop. And with these guys it doesn’t have to be a specific sound or thing, because sometimes the music will decide what the sound should be from the drums and bass. It’s nice to have someone that’s conscious of the tone, the sound and their place in the music to be able to mix themselves and blend with the band on stage.
I just finished a project with Will Lee, and it was wonderful to work with a guy who so conscious of the tone and sound, and still takes it seriously after all of these years. Love that guy!
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“I try to look at the positive at what everyone’s playing, enjoy it and learn something from it”
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YOU’VE MADE A NUMBER OF INSTRUCTIONAL VIDEOS. DO YOU HAVE A PET PEEVE WHEN YOU WATCH A DRUMMER?
Those instructional videos have now translated into my online school.
I don’t have any pet peeves. I tend to gravitate towards what I’ve always gravitated towards, and that is a deep understanding of the history of musical styles.
When you talk about the history, it does boil down to studying jazz, because the drummers who have studied where it all comes from have a deep sense of that swing feel, the triplet and the 12/8 aspect. It’s just different; it instills a certain amount of necessary practice to be able to play in that style/feel.
So, it’s not a pet peeve, but it’s something that I miss when I feel that I’m watching a player that doesn’t necessarily have that depth. That’s probably unfair, because the style of the music or the band leader’s preference of what they want the drummer to do could have something to do with what I’m hearing. It’s not fair to judge and I try not to do that; I try to look at the positive at what everyone’s playing, enjoy it and learn something from it.
I try not to have that competitive attitude of “Ah, he’s terrible. I can do that better.” A lot of people have that competitive attitude, but you have to remember that it’s an art form and so should be looked at with an open mind so you can find the positive. That’s what I’m always trying to do. I learn more that way and am happier with myself that way as both a player and a person.
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“you have to remember that it’s an art form and so should be looked at with an open mind so you can find the positive”
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WHAT IS THE BIGGEST THING YOU WANT TO CONVEY ON YOUR INSTRUCTIONAL VIDEOS AND ONLINE SCHOOL?
Well, first a bit about the school: it’s a streaming on line service, with over 25 hours of content, and a private Facebook page for sharing and communication directly with me. First and foremost though, I am sharing what I do: what I’ve learned from all of my great teachers in the line down my history path. What I’ve learned and applied and through my own self-analyzation figuring out how to do certain things, and things that I don’t want to do.
For me, it’s not a sledge hammer on concrete, saying “It has to be this way. My way is best”, which is crazy, as there are a lot of ways to do things, lots of approaches that should be considered.
But, I know what I’ve been through and what works for me through trial and error, both technically and musically, even down to the ergonomic aspects of the setup where the drums are concerned.
I just want to share that, and it’s out there for anyone who wants to get a little more insight into what I’m doing.
WHAT WOULD YOUR TOP ALBUMS BE TO GIVE TO A DRUM STUDENT?
That’s a tough question…
Anything by Buddy Rich! Billy Cobham’s early records. I’m citing my own influences here. Crosswinds…these records were back in the 60s and 70s so I’m certainly dating myself. Anything you can find with Steve Gadd on it!
You should go back and listen to all of the great Big Bands. Duke Ellington with Sonny Greer and Louie Bellson, and Count Basie with Sonny Payne and Jo Jones. Then you’ve got the bebop thing with Tony Williams and Miles Davis, and Williams later with his own stuff, VSOP with Herbie Hancock. Coltrane, etc. There’s so much to listen to, it would take a few pages here to list things!
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“When you’re trying to learn a language, you have to listen to somebody that really knows how to do it, do it”
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THE KEY TO ANY MUSICIAN IS TO HAVE ONE’S OWN SOUND. I PLAY A SAX, SO IT’S MY BREATH WITH THE REED AND MOUTHPIECE. HOW DOES A DRUMMER DO IT AND SAY “THIS IS WHO I AM”?
That’s a deep question.
When you’re trying to learn a language, you have to listen to somebody that really knows how to do it, do it. You have to understand what that language is supposed to sound like, what the delivery is, what the inflections are and what the action is. It’s not only the technical aspect of the words (with the correlation being the notes on the paper), which is why I’m not a big fan of learning from just a book, because you can’t hear anything.
You have to be able to understand what the intention of the emotion is, and the only way that can happen is to actually hear either the spoken word or the musical expression of the musician playing.
I did a lot of that. I listened to all of the great players who inspired me like Buddy Rich, Tony Williams Peter Erskine, Billy Cobham, Vinnie Colaiuta, Philly Joe Jones and of course, Steve Gadd. Those are some of the guys who made a big impression on me. The list goes on.
What helped define all of those players was their sound, which was their living zone of when they played their instrument; what that conveyed through either a recording or live performance. I started to understand at an early age that the sound aspect of what you produce has so much to do what people hear and react to. This goes for the musicians that you’re playing with and the people that are listening to you.
The point is that if you only copy somebody, that’s no good because you then get labeled as sounding like someone else, which is never a good idea, no matter how great the influencer is, or how much you love it. It’s important that at some point, when you’ve done all of the copying, listening and understanding, you take that as a basis and apply it through the music you are going to play and make it your own.
You have a little bit of a different idea and you make it work for you. Of course it will have to do with what kind of music I’m playing with and who I am playing with. That’s how you get your own sound: through the inspiration of others and through the experimentation of working out the thoughts about what you want to say.
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“you get your own sound: through the inspiration of others and through the experimentation of working out the thoughts about what you want to say”
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WHAT RECORDING OR PERFORMING GIG WAS YOUR BIGGEST BAPTISM BY FIRE?
That would have to be the Michel Camilo gig, with the band French Toast. I had time to prepare, but this band had Peter Gordon on French Horn, great players like Lou Soloff on trumpet and Anthony Jackson. They played this great music, with Camilo as the keyboard player and contributing composer.
Peter Erskine saw me play at 7th Ave South in NYC (with Nite Sprite) and recommended me for French Toast. That was my leap from being a club date drummer, struggling along, and now actually ‘playing with the guys’ getting thrown in with the crème of the crop New York studio musicians.
That was the moment I had to shed and step up to the music and put up all the idealistic positive aspects that you try to think about and as a musician; be responsible, be on time, know the music, and don’t be a jerk. I was only 22 and thrown into the fire with the best guys in New York. That was it.
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“Chick allowed the musicians to have the freedom to create. Providing that atmosphere is not an easy thing to do”
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YOU SPENT QUITE AWHILE WITH CHICK COREA. WHAT DID YOU LEARN BOTH MUSICALLY AND PERSONALLY FROM HIM?
Chick is ridiculously great; he’s one of the most prolific musicians that I know. His energy level is unparalleled. This guy is in his mid to late 70s and still running around like he’s 40, or even 30 years old! It has always been very inspiring to be around him and just witness the genius of the music that he is.
As much as I consider myself a pretty good drummer as far as abilities, understanding music pretty well and composing a little bit, I just sit there and look and Chick and go; “It’s unfathomable how much ability this guy has!” (laughs)
I learned so much from Chick before I ever met him and played with him because I was listening to his records, which make a few more albums to add to the list you asked about. Gadd was on most of those, post-Return to Forever. It was during that period of The Mad Hatter, Friends, Three Quartets and The Leprechaun that were a major part of my growth.
So I had already kind of knew about his playing approach, so when I actually got to play with him, I felt, “OK, this is it. I understand what it is.”
What I really learned from Chick was from the leader aspect of surrounding yourself with great players, young players too, young at heart at least, that are still inspired and hungry enough to do the homework, learn the stuff and still have the degree of knowledge to have a lot of command of their instruments.
Chick allowed the musicians to have the freedom to create. Providing that atmosphere is not an easy thing to do. I don’t think it’s a thing many leaders think or care about.
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“What helped define all of those players was their sound, which was their living zone of when they played their instrument”
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WHEN YOU PLAY WITH MIKE STERN, IT SEEMS HE GIVES YOU A LOT OF FREEDOM
Oh, absolutely. Everybody has their ideas as a leader. That’s the reason you take on the role of being a leader, to do it your way, to have the music be what you envision. Ideas are suggested by all leaders, but most of the guys that I work for give me a certain amount of musical freedom to be myself and express myself within the music. ^^^^^That’s part of the enjoyment of the music, to have the individual be free to express and bring to the music what no one else can. I feel it’s important though to respect and understand the leadership roll.
YOU HAVE MENTIONED A COUPLE OF TIMES THAT IT’S IMPORTANT TO HAVE THE HUNGER. HAVE THERE BEEN PERIODS IN YOUR CAREER THAT YOU’VE FALLEN ON FALLOW TIMES AND LOST INSPIRATIONS?
I went through it when I was younger.
I’m a big Formula One fan, and I just saw Louis Hamilton, who is one of the greatest racing car drivers that’s ever lived, post something. He’s 33 or 34. I’ve been seeing these little news flashes that he’s posted on Instagram or something, that he just wants to quit everything, and he’s depressed with the world situation. All of the young guys are starting to get all of the attention.
I felt like writing to him and say, “Louis, you’re at the top of your game. You’re one of the greatest of all time, and we need people like you to just keep doing what you’re doing. You gotta just keep doing it!”
That creates a whole positive aspect that affects the world in one way or another, as there are a lot of people that look up to this guy and get something positive from him.
It reminded me of myself when I was about the same age. I was so burnt out from being on the road with The Elektric Band and The Acoustic Band and was getting no time to regroup and refresh or do my own thing. I felt like “I just gotta quit! I gotta stop! I just don’t feel like doing this anymore!” I went through that. I never came out and said it in print like Louis did, but I remember thinking it.
Now, 25 years later I look back on it and it was just a little zit, a little pimple on the road for a minute, and I realize that it just had a lot to do with burnout. That’s where Louis is, in my opinion.
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“I look at guys like Roy Haynes, in his 90s, Jimmy Cobb, and Steve Gadd who’s in his mid 70s and go, “Man! I’ve still got some time here!” They are inspiring!”
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Sometimes you just have to get through that season, and next year (or month, week or day) it will be over.
You have to go through it, and I did have to change things up and quit the Elektric Band a year or two later. But that’s when I started to concentrate on my own thing, when I started studying with Freddy Gruber and got re-invigorated, re-nourished by getting more knowledge. It was great to just sit down and practice, get off the road and just do it.
In one sense it’s a “The Grass Is Always Greener” scenario. If you’re struggling and you’re practicing then touring is what you want to be doing, but then you get the gigs and you’re burnt out and there’s no time to do anything else. That’s probably the trickiest part of this business, finding that balance.
SONNY ROLLINS TWICE TOOK SABBATICALS, AND ARTIE SHAW TURNED HIS CLARINET INTO A LAMPSTAND AND MARRIED 7 WOMEN.
Well, I try not to do anything too extreme. Balance is a key; to keep everything in perspective. I’m now at the age where it’s becoming a bit more profound than it used to be. This is not forever, so I am going to enjoy doing this as much as I can for as long as I can. That’s again where the diet and exercise fit in.
I look at guys like Roy Haynes, in his 90s, Jimmy Cobb, and Steve Gadd who’s in his mid 70s and go, “Man! I’ve still got some time here!” They are inspiring!
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“Sometimes you just have to get through that season, and next year (or month, week or day) it will be over”
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HAVE THERE BEEN ANY BOOKS, RELIGIONS OR PHILOSOPHIES THAT HAVE KEPT YOU INSPIRED?
Not really. My wife and I are into the Universal Energy aspect of trying to be positive and live within morally correct standards. Being what you would say “A Good Person”. We’re spiritual in the sense of believing in a Higher Power and the energy of the universe and not do anything that is going to place negative energy in that circle.
Of course there have been positive figures that will have said certain things that inspire me, but nobody in particular. I just try to dive into things that I want to learn about, things that I want to understand. I always get something out of that. I find the positive in it.
THERE ARE A LOT OF PEOPLE IN THEIR 60s THAT EMOTIONALLY CHECK OUT AND ESCAPE INTO THEIR RVS.
Yes, well I still have the responsibility factor of taking care of a family and what I need to do to survive, and the other aspect is that I still love it. I still love working, I still love practicing, I still love playing, and I feel blessed to be able to be in a situation where I can do what I love to do and still survive doing it., I’m very thankful for that.
ARE CARS YOUR BIGGEST HOBBY
Yes! Formula One is one of the only sports that I really follow these days. I’ve always been a car and racing fan, and I actually dabble on the race track with my own car, taken a few lessons, study it quite a lot, and have fun with it.
I have a pretty cool racing simulator set up in my office at home, so it keeps me off the streets as they say. It’s cheaper and safer than the real thing too!
There are a lot of correlations between driving fast in a car and being able to set up your drums and play. I was in touch with a famous author/race car driver named Ross Bentley, and he invited me on his show to do a Podcast because he knew that I also drove. He was interested in the correlation between drumming and driving.
But it’s like doing anything at a high level; there are certain things that work and certain things that don’t. In drumming I’ve certainly figured out how they apply to me technically and ergonomically and physically, to be healthy doing it. It can be applied to any area of life.
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“I still love working, I still love practicing, I still love playing, and I feel blessed to be able to be in a situation where I can do what I love to do and still survive doing it. I’m very thankful for that”
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MUSIC IS LIKE BASEBALL WHICH IS LIKE COOKING WHICH IS LIKE MARRIAGE WHICH IS LIKE GARDENING. YOU CANNOT SEPARATE YOUR LIFE
Absolutely
WHAT DRUMMER PAST OR PRESENT WOULD YOU PAY $1000 TO SEE ?
It would have to be Buddy Rich, up close.. Papa Jo Jones in his prime, as well.
I got to see Buddy a lot when I was younger. I actually got to stand next to him one time and had a picture taken when I was 14. My first teacher, Bob Metheny was friendly with Buddy and was responsible for me meeting him. We were actually supposed to be on the same PASIC show in 1987, but I couldn’t make the show due to touring, and he passed before the show anyway.
WHAT DO YOU WANT THEM TO REMEMBER YOU FOR AT YOUR FUNERAL?
That’s a good one. I cannot answer that one.
YOU’RE GOING TO BE WITH STERN AND YOUR LONGTIME FRIEND AT CATALINA’S SOON
Actually, not with Tom, if that’s who you mean. I’ll be there with Mike, Jimmy Haslip and Jeff Lorber. That will be fun!
IT IS ENCOURAGING TO SEE AN ARTIST WHO ALWAYS SEES THE POSITIVE IN EACH ARTIST, TRYING TO LEARN SOMETHING FROM EACH PERSON HE COMES ACROSS. THIS ATTITUDE COMES ACROSS BOTH HIS EXCITING CONCERT PERFORMANCES AS WELL AS HIS ECUMENICAL SELECTION OF STUDIO SESSIONS. AS WITH MOST GREAT TEACHERS, DAVE WECKL CONTINUES TO BE A LEARNER AND A SEARCHER, AND WHILE HE’S CONTINUING ON HIS MUSICAL PATH, HE INVITES HIS FANS TO FOLLOW THE BEAT OF HIS DRUM. IT’S A JOURNEY WORTH TAKING.