ursinator2.0
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The Audition Gallery, Act III
Scott Thunes Zoom Interview
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polydigm
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^ A very interesting interview. Boy, that man can talk. Interesting that he got an apology from Ed Mann. Also interesting to hear that he has the same
opinion as me about reading music.
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ursinator2.0
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Terry Bozzio Talks About His Career Part 2
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Plook
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That was really interesting...thanks for posting link...
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Facebook finding
Belew was playing with a local bar band in a small club in Nashville when Zappa came in to see them:
“Frank gave me a list of difficult songs from several different records, and his instructions were, ‘Figure out how to play and sing this the best
you can, however you can.’ The music was pretty complicated for a guy who was just playing in a bar band. I had never played in odd time signatures,
and I didn’t read music, whereas the rest of the Frank’s band did. And I was so poor at the time that I didn’t even buy the records. I borrowed
them from my friends, because I didn’t know if it was going to work out anyway.
“The audition was pretty brutal, and I didn’t do very well. It was like the chaos of a movie set with people moving pianos around and so on. And
there’s little me standing in the middle of a room with a Pignose amplifier and a Stratocaster trying to sing and play lots of Frank Zappa songs. I
was so nervous. I remember doing ‘Andy,’ and ‘Wind Up Workin' In A Gas Station.’ I thought I did poorly, and I had nowhere to go. I had just
flown in, and was driven to his house, so I sat there all day watching everyone else. I watched some really tough auditions, especially for keyboard
players and percussionists. I didn’t see any other guitar players, but I was later told that he auditioned 50 guitar players.
“At the end of the day, when it all calmed down and people were finally leaving, I finally got my time to speak to Frank again. I said simply this:
‘Frank, I don’t think I did so well. I imagined this would have happened differently. I thought you and I would sit somewhere quiet, and I would
play and sing the songs for you. And he said, ‘OK, then let’s do that.’ “We went upstairs to his living room, and we sat on his purple couch.
I placed my Pignose amplifier face down on the couch so I could get a little bit of sustain, and I auditioned all over again. At the end of it, he
reached out his hand and said, ‘You got the job.’ We shook hands, and that was an absolute turning point in my life.”
-Interview in Guitar Player, November 2005
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ursinator2.0
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facebook finding
George Duke with Zappa 1970–75
The first time I met Frank was when he produced the King Kong session for [violinist] Jean-Luc Ponty. I was working with Jean-Luc at a club in L.A.
called Thee Experience, and he insisted that he didn't want to do the record unless I came along with it. He didn't know Frank at that time, so he
wanted somebody from his camp to be there. So I did the date, Frank liked me, and it went from there.
Maybe two months later, I was at my mother's house in Marin City, and one Sunday afternoon I got a call from Frank. He asked me to come down and be a
part of this show he was doing at UCLA with the Los Angeles Philharmonic, Zubin Mehta, and the Mothers Of Invention. After that, Frank asked me to
join the band. I couldn't understand why he wanted me, because I was such a straight-laced jazz player. But he liked me because I was crazy. I would
do anything on the piano.
It's funny. The music we did with Jean-Luc Ponty on that record, and the stuff we did with Zubin Mehta, was advanced for the time; it's probably still
advanced for now. But when I joined the Mothers, the first stuff we did was that kind of rock and roll where you do those doo-wop triplets. I was
like, "Oh, God! I can't do this!" After that, of course, we moved right into the more advanced music.
Rehearsals were grueling, very tough. You would go into the studio at noon or one o'clock and be there until seven or eight o'clock in the morning.
The whole band would be sitting around, and I'd be there with my keyboards. When he needed me, he called me in. When he didn't need me, I'd go out and
watch television. Or Ian Underwood and I would script out who was gonna do what sound, who had the time to do this funny lick Frank wanted and then
get back around the keyboard to change the patch and make the next move. See, we're not talking about synthesizers that had presets. You had to change
each patch. And if you didn't get it, Frank would know it. He would look around at you and make you do it again. Onstage! It was almost like a
Broadway show.
He would make us go over one lick until there was no way we could forget it. It's amazing to me to go back and listen to the tapes of what we were
doing onstage. God, the amount of music you had to play the same each night! That was some of the most difficult music I've ever played, partly
because he composed a lot of it from the guitar. But once I was in the band for four years or whatever, it came to a point where he didn't have to
write anything out for me. I knew what Frank was looking for, and I could easily come up with parts I knew he would like. If he wanted something
special, he'd just say, "We need something weird here." We'd try things until we found something he liked. We used to spend hours and hours in the
studio doing that stuff.
Frank's music was like organized chaos. That's exactly what it was. Once we got to the level we were at on The Roxy and Elsewhere, there was almost
nothing we couldn't do. If he wanted to move into contemporary orchestral or classical music, we could do that. If it was back to the '50s or forward
into weird stuff, we could do that too. We were like a rubber-band band: He would do certain moves with his hands, and we absolutely knew what he
wanted.
The only thing that made me want to retreat back to the jazz world was 200 Motels. I was still really straight then. I didn't have a big sense of
humor. Even now, 200 Motels is the weirdest thing I've ever done in my life. It was so strange, I almost can't explain it. It was just very weird to
be a straight-laced, thin-black-tie-wearing cat, with all these grungy hippies, for lack of a better word. But I loved it, because I knew I had
something to learn, and these guys were incredible musicians. And Frank did bring out my sense of humor. By the time I started playing with Billy
Cobham in '76, I was crazy. I had all these crazy statues and heads around the keyboards. That was a holdover from Frank, because I felt that this
fusion music was too serious. It needed some comedy. Nobody was smiling. So Frank's attitude seriously affected me.
Frank was the hardest worker I've ever played with, hands-down. I never saw anyone work harder than he did. From the time he got up to the time he
went to bed, he was thinking music. He wasn't very personable in terms of dealing with people. On a certain level, he had a problem in dealing with
his musicians. Once you were out of his concept of making music, you were out of his life, and he didn't have time for you. But he was always great
with me. He was a teacher: If I needed to know something, he would tell me. I know he wasn't like that with some other people. For sure, out of all
the people who worked with him, I'm the one guy who never had any problem with him about nothin'. And, for the time, he paid me more money than I
could have gotten anywhere else.
The only change I saw in Frank over those years was that he went from being funny/sarcastic to being almost serious/sarcastic. Toward the latter part
of the time I was in the band, his sense of humor became kind of vindictive.
I last saw Frank about a year ago. He kept trying to get me to come up and do some stuff with him at his house, but I was involved with doing a lot of
records. I had my own career going. I didn't really have time to be a part of Frank's world at that point. I kept planning to go up and see him, but I
just never did. It's a drag.
[img]https://scontent-fra3-2.xx.fbcdn.net/v/t39.30808-6/375201691_1088488622582941_1281400220152811813_n.jpg?_nc_cat=104&ccb=1-7&_nc_sid=4c1e7
d&_nc_ohc=wORry2AkA0UAX8vw1MG&_nc_ht=scontent-fra3-2.xx&oh=00_AfAr1iEOO8kVYTwiaWQ53ICnN-dcxiya_SF2RwWBTV5xZQ&oe=64FFA208[/img]
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polydigm
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BBCode quotes are very limited here, you can't put names in like in other forums unless you use rquote which is not real bbcode (obviously some thing
the creator of this software cooked up), and you only get those from quoting a post, because it's format requires correct post numbers and so on. But,
I'm quoting George Duke, not The Ursinator.
| Quote: | | I couldn't understand why he wanted me, because I was such a straight-laced jazz player. But he liked me because I was crazy. I would do anything on
the piano. |
Talk about a contradiction. I'm a straight laced jazz player, but I'm crazy and would do anything
on the piano.
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polydigm
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ursinator2.0
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Dooner’s World – Episode 82 Guest: Ed Mann – Frank Zappa's band 70 mins
Interesting conversation with Ed Mann under lockdown circumstances about 3 years ago.
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Eddie RUKidding
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Frank Zappa's problem with David Bowie Old Story But .............
https://www.youtube.com/watch?v=0i0Ld6RnOLk
South of the Border
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Plook
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That was awesome!!!
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ursinator2.0
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Longer interview with Chester Thompson with heavy focus on Genesis but also mentioning the Zappa years:
“Fans say, ‘You were part of the band.’ I was never part of the band… I was an employee. And all things come to an end”: Chester
Thompson’s career in and out of Genesis
American drummer recalls his life and times with Frank Zappa, Weather Report, Phil Collins, Unitopia and even the Bee Gees
US-born percussionist Chester Thompson got his first gig when he was just 13 and his adult CV includes stints with Frank Zappa, Weather Report and,
more recently, Unitopia. Making his mark on the 70s jazz fusion scene, he soon became Genesis’ live drummer. Speaking to Prog, he shared some trade
secrets from his storied career.
n 2008, drummer Chester Thompson was honoured with the Sabian Lifetime Achievement Award by American body the Percussive Arts Society to mark a career
that began in Baltimore in the 60s when he was in his early teens. He honed his skills playing along to jazz records and went on to formally study
flute, percussion and composition.
He was about to embark upon a four-year degree course but instead joined Frank Zappa And The Mothers Of Invention in 1973, reckoning, “Well, this is
what I’m trying to get ready for anyway.”
Thompson played on a number of albums including Roxy & Elsewhere (1974), One Size Fits All (1975) and Bongo Fury (1975). He left Zappa to join
Weather Report, with whom he recorded Black Market (1976). Weather Report fan Phil Collins invited Thompson to join Genesis’ live line-up in late
1976.
The relationship lasted more than three decades, and Thompson features on their live albums from Seconds Out (1977) to Live Over Europe (2007). He
also drummed on all Collins’ solo tours and can be heard on releases from Steve Hackett, Tony Banks, and with Brand X’s John Goodsall in the Fire
Merchants.
Now living in Nashville, Tennessee, Thompson is a professor at Belmont University. His current projects include The Chester Thompson Trio, whose debut
album Approved made No.6 in the JazzWeek album charts in 2013. He has recorded with supergroup the Fusion Syndicate and joined the Australian prog
band Unitopia in 2021. In 2023 he released his third solo album, the melodic, funky jazz-fusion set Wake-Up Call, which also features his son Akil on
guitar.
When did you first realise you wanted to be a drummer?
My first clear memory is when I was 10 years old, which is fifth grade. But m mother once showed me a letter I wrote in fourth grade, and it actually
outlined my whole career – playing a big drum set and going all over the world in big bands. I have no memory of writing it and having that big
desire, but when I read it I absolutely wept.
Who were your early influences?
Jazz drummers – Max Roach, Art Blakey, Elvin Jones, and later, Tony Williams. I started very early. One of my brother’s best friends was a
drummer. He said, “You can come to the house and I’d be glad to give you a lesson or two.” Every morning at nine o’clock I was ringing the
doorbell coming in for a lesson!
When I was 13 someone called asking if he wanted to do a job with a local soul band. By then he had committed to playing jazz; so he put his hand over
the receiver and asked me, “Hey, you want a gig?” And I was like, “Well, of course!” And he said, “I can’t do it, but I’ve got a
drummer. He’s 13, but he can do it.”
I didn’t even have a drum set, so he took his drums down for me to do an audition with these guys, and they liked my playing. So my family got
together and we got a used drum set, and I started the next weekend – and played every weekend throughout school.
How did you get to play with Frank Zappa?
A friend of mine, Marty Perellis, had become Frank’s tour manager. He called and said that Frank had decided the band were playing the music so
perfectly, it had become a bit sterile. He was thinking of adding a second drummer – someone with, as he put it, more of a “street feel.”
For my audition we just jammed for about an hour, going from style to style; and he liked what I did. We started rehearsing, and for the first couple
of days we went over some simple things he’d just written. On the third day he brought the rest of the band and played through a bunch of the
repertoire. It was frightening – that stuff was so difficult and so crazy, I’m thinking, “What did I get myself into?”
But it was a great experience. Frank wasn’t known for it, but he was a great teacher. You had to be at a certain level to be in his band, but he
knew how to get you to the next level. That was my introduction to 40-hour-a-week rehearsals.
My first tour with Genesis, they gave me 10 days of rehearsal and decided to take a day off because it was going so well. That was frightening,
because that is not enough time to prepare for a two-and-a-half-hour show. But every Genesis tour, every Phil Collins tour, there was always a period
of 40-hour-a-week rehearsals.
What prompted you to leave Zappa to join Weather Report?
The very simple reason is Frank cancelled a tour. I had been in LA not quite two years, but we were always touring, so I hadn’t really had a chance
to meet many musicians there. So all of a sudden, I’m in this new city with no work. Alphonso Johnson, the bass player with Weather Report, had been
a friend of mine for many years. He mentioned that they were in town and looking for another drummer. They were my very favourite band at the time.
I went down and it ended up being an audition, and the next week they started rehearsing for a tour. I was just so in love with that music, so I let
Frank know, “I’m gonna be moving on.” And he understood – he knew it was my background. There was no animosity and we stayed friends.
Weather Report had a more organic feel than many 70s fusion bands, but then keyboardist Joe Zawinul and saxophonist Wayne Shorter had played with
Miles Davis on Bitches Brew. As composers they were always a bit left of centre – Wayne especially. Joe was from Vienna, Austria. He grew up doing
jazz and moved to New York at a pretty young age. But he was very much taken with music from other cultures, lots of African and Indian. And he heard
things in his head that were not traditional jazz.
When I first came into the band – before Black Market – we were talking about the drum parts that I’d put on different songs. They would never
talk in musical terms; once, Wayne said to me, “OK, with this song, picture being in a desert in a caravan.” That’s all he said, but I
immediately knew what he meant. Wayne and Joe were big film buffs; they loved movies and they always had a very visual bent to their compositions. I
think they saw them as more soundtracks than typical songs.
Phil Collins mentioned that the Genesis track Los Endos was inspired by Weather Report. But some British jazz-fusion musicians in the 70s were quite
deferential to their American counterparts, as if they didn’t feel they were quite the real deal. Did you come across that?
Yes and no. I’ve seen it with some. But then I’d meet John Goodsall and the guys from Brand X and they certainly didn’t have that feeling. Phil
invited me to come along to a couple of their recording sessions and just hang out, and I was very impressed, especially with Phil’s playing – and
also with Genesis, with all the odd timings of the early prog stuff. Boy, just really refreshing. Not your ‘typical drum part’ kind of guy.
I remember a conversation with Tony Banks. He was talking about the start of the band, saying, “We weren’t trying to be top-notch musicians; we
just wanted to play well enough to play the songs we wrote.” One of the big cultural differences I observed was that if you wanted to work –
unless you were in, say, California, or New York – you did cover songs, and you learned to play them exactly like that.
Coming to England, I started to recognise if you wanted to build up a following, even as a pub band, you had to have original material. I’d hear
these English groups and the playing wouldn’t be as pristine as, say, Miles Davis’s band – but the creativity would be absolutely amazing. Here
in the States, you would get these really tight bands, but not nearly as creative as what was coming out of the UK. So I think the answer may be
somewhere in there.
When you joined Genesis their material was essentially very English and some songs had a kind of whimsy, which was too much even for some English
people. How did you get on with that?
I’ve always been excited to go forward to the next thing, so I had to get used to the feel of it. It was much straighter and maybe metronomic in a
way than anything I’d done. I had played straight rock, but it’s still a very different feel. The use of bass was probably the biggest adjustment
or me; in everything I did, bass plays a very heavy role. With the early Genesis music bass didn’t carry the same kind of weight. Sometimes there
would be those Taurus bass pedals, so there’s a drone as opposed to an actual bass line.
On More Trouble Every Day from Zappa’s Roxy & Elsewhere, you and Ralph Humphrey play a syncopated two-bar drum break together a number of times
during the song. We understand that Phil Collins loved that break, so you two played it with Genesis.
It’s at the end of Afterglow on Seconds Out. At the first rehearsal, Phil and I were set up before the others, and we were just jamming. He suddenly
stops and goes, “How do you play the fill?” And I knew exactly what he was talking about. I taught it to him, as it takes two people to play it.
When one person is playing toms, the other’s on the bass drum and then you reverse it. I wish I had written it, but it was Ralph Humphrey.
The song I had the most trouble with was Afterglow, which is probably the simplest song. Phil would always say, “No, it’s not the right feel.”
And I finally asked him, “Where are you coming from?” He said, “Well, it’s like walking,” and he did a walking motion. And then I smiled
inside because I realised, “OK, there’s the problem. Where I grew up, we didn’t walk like that!” I played it with a bit of swagger, a bit of
swing, and it needed to be really straight. And that made a big difference in how I needed to approach a lot of the other things as well.
How did you and Phil work up the material for your live drum duets?
Basically from jamming. The first couple of tours, I pretty much did most of it. Phil, as much as he’d played, had not soloed as much. After that we
were very much involved together. At the end of rehearsals we would sit down and jam for a couple of hours. I would get my little cassette recorder
out and record it, and we’d pick out the bits we liked.
Were you basically given free rein in the songs?
Oh, absolutely. Phil would say, “These fills are part of the composition; the rest of it, you’re on your own. Just do what you feel.” So yeah,
it was a good working relationship. I had no intention or idea that it would go on for so many years – but they kept saying, “Would you come and
do it again?”
At one point, Phil said, “I think we need to bring you over early and do the recordings.” But they were friends, they all lived near each other,
so when they got an idea, they’d get together and get on it immediately. And by the time I could be flown in and get over jet lag, it’s done
already. But I knew what I signed up for so it was fine.
From their perspective, fans say, “You were part of the band.” I was never part of the band and the reality is that I was an employee, and what I
did, I tried to do it well. And all things come to an end.
Did you want to join the band as a full-time member just before Calling All Stations?
When I found out that Phil was leaving I did reach out to Mike Rutherford and asked if they were interested in continuing that way. He was like a very
hard-nosed, “No.” They had no interest in that whatsoever. It was “OK, fine.” I mean, I wasn’t hurting for work.
Had you hoped to play on The Last Domino Tour?
When Phil did the Motown tour in 2010, we had a really nasty falling out. I won’t go into detail, but I knew that nothing would ever happen after
that. I was actually very pleased to see that his son Nic got a chance to tour with him, as even at 5 years old the kid just had all the potential in
the world; you could see he was a natural. That’s it. I have nothing else to say on that.
You’ve toured with all sorts of bands. Do any memories particularly stand out?
I did a European tour with The Bee Gees in 1989 in between Genesis tours. In the States they got a bad rap with the disco thing – but they were
still writing incredible songs and it was a real pleasure to work with them.
The Santana thing was a lot of fun; that was actually a package tour with Bob Dylan. Prior to that I had recorded an album with Santana as well
[Beyond Appearances, 1985]. Alphonso Johnson was on bass, and there were two Chester Thompsons in the band – the keyboard player had the same
name!
The Fusion Syndicate is an unusual project. On the 2023 album A Speedway On Saturn’s Rings you recorded one track, Io, with Rick Wakeman, and
another with Jah Wobble on bass...
It’s never really been a band. All the basic tracks were done in two days by me and a bass player in LA, knowing they would bring in guest artists
on different tracks, including several different drummers. A fusion all-stars, for lack of a better term. I don’t like to listen to my playing that
much, so I still haven’t heard all of it. I’ve done several things for them [Cleopatra Records and sub-label Purple Pyramid] where they will put
together a fusion or prog project. I ended up playing on a King Crimson tribute [Schizoid Dimension] as well.
You and Alphonso Johnson joined Unitopia and played on last year’s Seven Chambers.
Man, I really enjoy that band. We did a European tour in September and we’re hoping to be able to book another tour soon. They took a hiatus from
recording and touring [from 2014 to 2021]. The main two guys, Sean Timms and Mark Trueack, have added a very good guitarist, John Greenwood –who’s
a retired surgeon, actually.
They’ve been doing most of the writing, so we’re all throwing our bits in as we go. For the next one they want to really co-write it; trouble is,
you got a couple of guys in Australia and Mark now lives in Thailand. We’re all over the map!
How did you put the music together for Wake-up Call?
The bass and keyboard player and the bass player [Michiko and Robert ‘Peewee’ Hill], were in the first band I ever had. We just used my name as we
could never decide on a name. Unfortunately, the band never got to be what it could have been, but we all stayed close. The crazy part is we haven’t
played together in 30 years, but the feeling we had when we played together is still there.
I spoke with them at the beginning of lockdown. They have a home studio and were saying, “Nobody’s booking the studio, so we’re just sitting
around jamming with the drum machine.” And my comment was, “No, don’t do that. Let me send you something to jam with.”
I laid down a drum track – not quite five minutes – and I threw in some fills. When I’m jamming alone, I’m hearing melodies in my head. They
wrote around it and sent it back to me and it totally blew my mind. I was like, “You gotta be kidding me!” And their comment was very flattering.
They said, “We just went where you led it.” But then, we put a lot of time together back in the day. It stretched out for about a year with them
writing around the drum tracks I sent. So then we started adding in some saxophones and guitars.
How often do you practise?
If I haven’t played in three or four days I start getting really antsy. For me, at this point in life, some of the practice is to not lose what
I’ve had. I’ve slowed down a bit from when I was 25-30, but there’s not much of it I can’t do. I’m grateful for that and I want it to be
crisp; I want it to be what I intend.
But I’m always looking to learn new stuff. I still believe very much in practising music, just like they always speak of practising medicine and
practising law. You practise music because you will never know everything. And the moment you think you do, you’re finished.
Mike Barnes
Mike Barnes is the author of Captain Beefheart - The Biography (Omnibus Press, 2011) and A New Day Yesterday: UK Progressive Rock & the 1970s
(2020). He was a regular contributor to Select magazine and his work regularly appears in Prog, Mojo and Wire. He also plays the drums.
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Eddie RUKidding
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Ive got a reissue 180gram LP of Black Market - will have to give it another spin
South of the Border
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ursinator2.0
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How Vinnie Got The Zappa Gig - Vinnie Colaiuta
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ursinator2.0
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facebook finding:
Bowie's history,April 12 1978. The cancellation of the Atlanta concert at the Omni gave everyone a night off before the next concert. Nashville native
Adrian Belew took everyone to Fanny's, the club where Frank Zappa had discovered him. At the age of 27 Adrian Belew was playing regional gigs around
Nashville with Sweetheart, a cover band that adopted a look of old-time gangsters. Belew remembers: “To be in sweetheart you had to cut your hair
40’s style and wear authentic 1940’s vintage clothing. All the time! Even in the daytime if you were going grocery shopping.” The band members
excelled at playing the more interesting repertoire of classic rock radio. However Belew started to get disillusioned with his dream of becoming a
musician with a record deal, playing his own material. Doing cover songs in small clubs and bars can only get you that far in the music business.
Terry Pugh was a fan of Sweetheart and on the night of October 18th, 1976 he found himself driving a limo around Nashville with none other than Frank
Zappa in the back seat. Zappa, on tour with his band, was looking for some live music to watch after his show at the Memorial Gymnasium in Vanderbilt
University in Nashville. Frank asks Terry to recommend a favorite music act in town, and Terry tells him about a band called Sweetheart with a very
good guitarist playing tonight at Fanny’s Bar. They walk in, Zappa likes what he hears and 40 minutes later, while the band is playing a cover of
Gimme Shelter, he walks to the stage, shakes hands with the guitar player and tells him: “I’m going to get your name and number from the
chauffeur, and when my tour is over I’ll call you for an audition.” So enters Adrian Belew the Zappa universe. In late January of 1978 the Zappa
European leg of the tour started, reaching Cologne, Germany on the night of February 14th. Who should be in the audience but Brian Eno, at the time
working with the band Devo as producer on their debut album Are We Not Men? A: We Are Devo!, recorded at Conny Plank’s Studio outside of Cologne.
Eno, aware of his pal David Bowie’s need of a lead guitar player for his upcoming world tour, places a call to Major Tom, urging him to come see the
new guitar phenomena he just witnessed on stage. Not Zappa, the other guy. The following night Zappa’s band performs in Berlin. During a long Zappa
solo feature Belew walks off stage and who is standing next to the sound console? Iggy Pop? No. Well actually yes, but more importantly a friend of
Pop, David Bowie. Wasting no time, the Major asks Belew “How would you like to be in my band?” Belew points to the man with the goatee soloing on
stage “Well, I’m kind of playing with that guy.” Fast forward a few hours later. Bowie gives Belew the celeb treatment and chauffeurs him in a
limo to a restaurant to seal the deal. Who should be sitting at the first table but Sheik Yerbouti, not humored by the obvious one-upmanship unfolding
before his eyes. Bowie, coolness personified, says “Quite a guitar player you have here Frank.” The exchange that follows as told by Belew is the
stuff of legend:
Frank said, “F••• you Captain Tom.”
(note: Frank had demoted David from a Major to Captain)
David persisted, “Oh come on now Frank, surely we can be gentlemen about this?”
Frank said, “F••• you Captain Tom.”
David said, “So you really have nothing to say?”
Frank said, “F••• you Captain Tom.”
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Eddie RUKidding
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That is the best version I had heard - Iggy Pop lol
South of the Border
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ursinator2.0
Sheik Yerbouti Status
Posts: 428
Registered: 11-7-2022
Member Is Offline
Mood: in between and
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What’s It Like Drumming For Frank Zappa? | Chad Wackerman 60 mins drumeo interview. He plays some stuff of his own, gives some drum lessons and
- of course - tells about his audition.
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