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HdTVU
MUSICIAN: ln a sense, this is an elaboration of Joe
Morello's playing across the bars in three four time that
had fascinated you a few years before.
HUMPHREY: Right. Morelio was great at that. ln five-
four time as well, he would fly right out, playing sequential
rhythmic groupings over the bar line yet coming down
boom
-
on one. lf you go only with him, you lose sight of
-
the five. The imporlant thing is to follow him while retaining
the basic pulse f ive or whatever. That is the hardest thing
for a drummer,- or anyone who is experimenting with
rhythms, to do
- tc fly out and leave the basic structure
while still knowing where it is. The most important thing
to do is to relate to whatever rhythmic thing has been es-
tablished. This is a primary lndian approach
- to begin
with a basic rhythm of long notes, lhen to subdivide those
notes at increasing tempos, all the while implying the basic
basic motif.
MUSICIAN: Did working with Don Ellis help prepare you
for your next major gig, Frank Zappa and the Mothers of
lnvention?
HUMPHREY: Yes, it helped me a lot, especially the read-
ing part of it. When I auditioned for Frank, he put charts in
front of me that were rhythmically "unusual," especially
in an audition situation. He had been auditioning drummers
for a week or so and he offered me the job right away, so
once again I felt fortunate, but I knew I could do it. I played
with that band for a year and a half . One of the important
things that I learned was how to endure a concert perfor-
mance over a span of two-and-a-half hours
- we would
play a long time. Sometimes we would play continuously
- Frank liked to segue immediately into the next tune. On
occasion I remember saying to him while rolling on a cym-
bal between songs, "Please, just give me thirty secondsl"
I was just wasted. I had to learn about power and endur-
ance so I spent hours in the hotel rooms practicing on a
mattress, building up my chops, working on my wrists and
fingers so that I could simply survive the concerts. I had
to play loud with Don Ellis, but never as loud as with Zappa.
MUSICIAN: ln other conversations, you have mentioned
that around the time you worked with Zappa, your lech-
nique took a radical turn.
HUMPHREY: Actually, towards the end of my stay with
Don Ellis, I switched to matched grip. That helped a lot in
many respects, I wanted to cross over into the rock and
latin elements. The matched grip gave my left hand power
and equality with my right. Before that I had a right-hand-
lead concept most of the time. But watching players like
Tony Williams or Billy Copham go both ways made me
want to get into that more. I worked really hard on the left
hand and brought it to a point where at times it would even
feel better than the right.
MUSICIAN: Even in a ride situation?
HUMPHREY: Not so much in that context, although I will
occasionally switch ride hands. lt was great for left hand
articulation and for going around the toms.
MUSICIAN: Would you say that in contemporary drum-
ming, a matched grip is superior to conventional?
HUMPHREY: No. At one time I thought that, but now I
think that a person can develop his left hand as much as
he wants. lf he spends enough practice trme on his hands,
he will gain equality regardless of the grip. Some guys feel
better with matched, others with conventional. I personally
like what matched grip does for my playing. Steve Gadd
uses conventional grip
- and he's no slouch! He puts it
right where it needs to be. lt sounds like each hand is equal,
he doesn't have a weakness in the left.
MUSICIAN: That is interesting. Just irom hearing him,
had always assumed that he was a matched grip player.
HUMPHREY: So did I because of the nature of his playing.
When I saw him, I saw an incredible left hand.
MUSICIAN: lt seems.that your playing style and approach
are very similar to Steve Gadd's. What are some of the
44
fundamentals of your approach? lt often sounds as though
drum set patterns have superseded the straight ride. For
example, Gadd's drumming on "Lenore" (The Lepre-
chaun, Chick Corea) is a pattern rather than a ride. Does
ambidexterity apply to playing in a ride situation as well as
ills?
f
HUMPHREY: "Lenore" is a good example of some ol the
things that Steve Gadd and some other people are doing.
When you tear a pattern apart, each limb has its own
rhythm. Together they sound like one rhythm. Ambidex-
terity is very important. Each limb has to be equal. You
have to be able to focus your attention on either a single
limb, or all, in order to get the pattern or sound together.
Steve Gadd has the uncanny knack of being able to do
that. lt is very educational to lislen to that kind of
drumming. ll's a new approach because most guys vrew
playing time as the strong hand doing a pattern around
which the other limbs are orienled.
MUSICIAN: Do these patterns get built up, limb by limb,
or is it best to play the pattern as a whole from the start?
HUMPHREY: Both ways are good. I don't pretend to know
how Steve Gadd works out his patterns, but sometimes
with the two hands, you can set up a pattern with one hand,
and play all the in-between notes with the other. ln that way
you are playing a two-handed pattern, but each hand has
its own pattern as well. lf you accenluale one, and then the
other, you can see how dilferent each orientation is, but
how they work as one. The feet are a different story. You
have to slot them in as necessary. The right foot willoften
follow the right hand, but it also can play by itself, as in
Lenore. The left ,oot can be treated eilher as a timekeeper,
beating out eighths or quarters, or it can take part in the
pattern. I really enjoy playing in this style. I think that the
best way to approach it is to set a pattern with a foot or
hand, and build around it.
MUSICIAN: Do.you think that the approach which we are
talking about comes more easily from a rock concept or a
jazz one?
HUMPHREY: I can't say that either style is responsible
for the approach, although straight-eighth note music such
as rock is definitely more prevalent today than swinging.
You can hear the possibilities in much ot Tony Williams'
work with Miles in the mid-sixties. He threw the traditional
use of bass drum and hi-hat out the window. The feet were
like the hands
- all one big circle.
MUSICIAN: How do you develop the right drum part for a
session?
HUMPHREY: A lot of times it is self-explanatory. By lis-
tening you just know what to play. Other times it is written
on the part.
MUSICIAN: Exactly as they want it played?
HUMPHREY: Pretty close. They'll give you an idea. lf
you have the time and, most importantly, the ability to pull
off something special,rthen. the producer or artist might let
you try it. He might love rt or he might feel it detracts from
the intent,of the music, be it top forty or art. lf the producer
says to the musicians, "l just want you guys to play your
best and create," on that basis everyone will feel like ex-
ploring more. lf a producer says, "We want this tune on the
charts; let's keep it refined, simple, and no tricky stuff,"
then l'll do it that way. And that's an art in itself. Learning
how to do that this is what separates the studio musician
-
from the regular musician, no matter how well he plays.
You have got to adapt to the situation at hand or you don't
get that kind of work. This is why I have made it a point to
get to know different kinds of music.
I MUSICIAN: Since you are well acquainted with a large
number of styles and idioms, could you give us your con-
cept of what fusion music is?
HUMPHREY: Well, it seems that rhythm plays a primary
role in what is being fused lsuppose i\ is jazz and rock
- continued on page 47
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 PALER&LISTENEI? \IOI2,MA/I_JUNE151978SIOO
BobJo r-nes ehorts Fusion
Ariists F.louse [?eco rd 3iz Meets Ad
-ted
CursonsTriols

Ornelie eobr-no n s Ho rr-nolod ics