TheDrumland.Com

                  Carter Beauford

          Interview by Chris Cornish - 1998

              Thanks to Cyberdrum.com

The Dave Matthews Band is without question one of the hottest bands on the planet right now. All one need do is take five minutes to scan the web to derive some vague idea as to their overwhelming popularity. They have more rabid fans dedicating web sights to them than any other band. DMB has a fresh sound that combines acoustics instruments with a unique vocal style that is melodic and almost percussive in effect. It would seem that Dave Matthews and Carter Beauford were born to play together, as the band's many fans would agree upon. They often trade licks and double each others parts which adds a tightness and an interesting interactivity between the opposite ends of the band. We were presented with the opportunity to interview Carter in the midst of a hectic and wildly successful world tour. We were thrilled at his accommodating attitude and willingness to speak to all the drummers he is influencing these days.
Carter, let me start this by asking you about a little of the history of the band. How did you guys get together?
About six years. Well actually, over six years. It started out as a three-piece thing with Dave, and Leroy, our saxophone player working on some of Dave's songs. He only had four songs at the time. And we were working on them trying to develop something out of them. To put them in a position where Dave could get the full view of what his tunes were going to sound like. And it didn't work out with the three of us. We managed to get a few things happenin'… you know... with the songs, but we needed a bass player. That was the bottom line. So, we ended up getting Stephon, who's our bassist now. He was like fifteen or sixteen at the time. We got him… yanked him out of high-school.
How do you guys go about the writing process? Is it all Dave's stuff?
It's a joint effort pretty much. Dave wrote pretty much all the songs in the beginning, but as a group we arranged them. And the songs that are written now come mostly from sound checks, where we just come up with a certain groove and some links and stuff, and we will just put things together that way.
Jamming.
Exactly. The credit to the song writing has to go to all five members of the band.
You guys have been a touring machine this year.
(Laughs) Yeah, we have. That's the truth.
That must be tightening you guys up.
It really has. We were off for four months through April and we were doing different projects. Different things, special things with some of our friends. I myself am working on a solo project. But that won't be out for quite some time. So when we got back on the road, it was like… whoa… it was almost like we never had played together(laughs). It was so strange. It took two to three weeks before it all came back together again. Runnin' like clockwork now.
Is there a lot of interaction between you guys on stage?
Oh yeah. That's one of the things we tried to establish early on in this band was eye contact. And keeping the ears open. You know… listening to everything that was going on. That's probably more important than playing the music and making it sound right. Without the ear training and the eye contact on stage, the music can go several different directions without knowing it.
It can wind up becoming a train wreck. Where are you coming from background wise?
I studied jazz. Well… actually as a kid I didn't study jazz, but my Dad was a jazz trumpeter, so I studied indirectly through him just from listening to him play with his band and hearing him put on the records. Every afternoon when he would come home from rehearsal he would just put on anything he could get his hands on. All the jazz greats from Gussie Smith, Duke Ellington, Ella Fitzgerald, Miles Davis, and John Coltrane, just to name a few. And I would hear this practically every day. So I really had no choice(laughs) but to listen to jazz. I did really get into the radio scene. The Top Forty stuff back in the early 60's which was like the Beatles of course, the Dave Clark Five, the James Brown thing… James Brown and the Flames, you know. I have to give a lot of credit, probably more credit to James Brown and all the cats who did the funk thing. That's pretty much where I'm coming from, like a jazz-funk kind of thing. I guess you might call it fusion.
Well that's a pretty wide topic, anyway.
I studied when I got older… to know who these people were. To know who the jazz greats were. And to understand them or try to anyway. I started studying people like Tony Williams, Elvin Jones, and Philly Joe Jones. Also Cozy Cole. Cozy Cole was one of the cats I got into at an early age. And of course, Buddy Rich and Gene Krupa. In fact, Buddy was one of the first drummers I ever had seen. My Dad took me to see this thing… this Buddy Rich concert. I didn't know what the hell it was about, but I knew that this Buddy Rich was the coolest looking dude. It just blew me away, ya' know? And from that point on I knew that drums were going to be my instrument.
Are you completely ambidextrous?
Yeah, Yeah.
Damn you.
(Laughs) I hate to say that because I never paid it much attention for years, you know? It's like…oh wow… maybe everybody is like that. I didn't pay any heed to it until other drummers would tell me they wish that they could what I do with my left and right hands independently. I just thought that was the case with everyone. So all these drummers are practicing to have their limbs equally balanced, but it comes naturally for me. And it feels weird that I don't have to do that. I started out playing with everything on my right side, my hi-hat, my snare drum.
Totally backwards.

I started out playing drums that way, but I saw other drummers playing and I was like… wait a minute… I'm playing wrong. So I just took everything and switched it over to the other side, 'cause I wanted to be like everyone else. And when I did that, I didn't pay any attention to the fact that I was doing everything with the opposite side of my body, it just didn't phase me. I opened it up because there were just certain things I could do better with it being open. You know what I mean?
Absolutely. Like the interplay between the hi-hat and ride cymbal that you do… I can see how that's a 100% easier with it being closer. You use Yamaha drums. Which series are they?
The Recording Custom series. I may switch to the maple custom because they produce a really nice sound. I've played the maple custom a few times over in Europe when Yamaha would send me a kit over there. I really like their sound. I guess I'm just so used to the ones I play now it's hard to make the switch.
Are you using Zildjian cymbals?
Yeah, all Zildjian. I'm using a mix on the hats. The bottom hat is a Z custom, and the top hat is a Zildjian New Beat. It has a really distinct sound. It gives off more of a chik sound, but it's not a washy chik. For the main ride I'm using a dark K. Sometimes I switch to a brilliant K that I use as well… it depends no how I'm feeling. If I'm in jazz state of mind, I'll use the dark K. It varies. Next I have a Zildjian Zill bell. I love that thing. Sometimes I'll ride on that and it gives you nothing but the bell sound. I'll incorporate that with the cowbell and the jamblocks I have. For crashes, the first one to my left is an 18" K… a medium I think. The second one is a Zildjian Z medium thin. I've had that one for a while now.
Those things are loud!
Yeah, yeah. In between there I was using a 8" K splash, but I broke that the other night(laughs)… so I don't know what's there now. But normally it's the 8" K. The second splash I believe is a 10" A splash, and then next to that is a 14" splash. And on top of that is a piggy-back type set-up with a 6" K splash. Above that are the piggy-backed China crash and China trash. The top is a 16" crash, and on the bottom is a 18" trash. The 16" has a brilliant sound, while the bottom crash is weird but cool sounding. It allows me to get three different sounds. I can hit the top and bottom individually, or hit them at the same time. That was an idea my drum tech came up with… and I was like, wow, that's a cool sound. So I started messing with it and it worked for me. It takes practice, of course, but it came with time. It's natural now and I can do it without looking.
What kind of heads are you using?
All Evans. I was using Remos for years, but with the Evans I'm getting a lot less overtones.
Is that the EQ series?
Yeah, right. Without overtones, it allows the natural sound to come through. The mics don't pick up a bunch of nonsense. Not to say that Remo… not knocking Remo, but the Evans are nice.
What about sticks?
I'm using the Pro-mark natural finish 5A's. In fact I have a signature stick out that's the 5A natural, which I really love. They're light, and they don't slip. I got so frustrated for years using coated sticks. I would try using sand paper to wear off the finish on the bottom of the stick…and I thought what a lot of work to use a stick. So they came out with the natural and I use them now. Plus, I like the sound that they have… not too bright like coated sticks are.
How do you feel right now? I mean, the Dave Matthews Band is on top of the scene right now.
I really don't think about it. I mean occasionally we'll hear about it… but we feel the same way we did when we started. We still have so far to go. I'm glad that everyone still has that attitude. Nobody's getting too big for their pants. And that's what I'm really digging' about playin' with these guys.
Touring has got to be hard, but is it work? I mean it's got to be like being on vacation in a way.
Well I don't feel like it's work at all. I'm having so much fun. I've been playin' for 35 years…
Stop it…
(Laughs)… It feels as it did 35 years ago when I was starting out. It's still fascinating and fresh. And if it does go sour it's probably time for me to bow out and do something different. I'd stay in the music industry but maybe not in drums.
Let me throw some names out of your peers and see who your hip to. Dennis Chambers.
Oh my God… Dennis! (Laughter)… He's my man! In fact on the first CD I had to thank Dennis for inspiration and the freshness he gives to all the drummers to come. The guy is incredible, amazing. That means a lot. Personality means so much. I mean, you can see a beautiful girl, but then you meet her and she's such a bitch. Dennis is just so genuine and real.
What about Dave Weckl?
Yeah… Dave as well. One of the kindest people on earth. And chops out of his… you know what!
Steve Gadd?
Oh yeah! Steve is like the fatherly figure. He pretty much laid down the foundation in the '70's with the syncopated high-hat thing and playin' around the beat.
What drummers are you seeing on the scene today that you really dig?
I'm really into Smitty Smith. He's a favorite. I've been checkin' out his stuff for about a year or so. I'm really studying him hard right now 'cause he just blew me away! Holy smoke… he's for real! When I met him on the Jay Leno show, I felt like I had known him for years… like he was my best friend
How about Vinnie Colaiuta?
(Laughter)…
Don't even want to go there?
(More laughter)… what can you say? The guy's in the hall of fame, and he deserves it! I can't find the words…
That's testament enough. His solo album is great.
I've gotta' get that. I remember the stuff he was doin' with Zappa (laughter)…
He was just makin' people sick…
(Laughter)… this guy will take the 1 and do anything that he wants with it (laughter)… incredible, incredible! He's so in the pocket. The splash things he does… in "Seven Days"… he just does some sweet things! Some of the splash things I do comes from there.
What do you think of the music scene now?
I feel that musicians are starting to be creative again… they're not falling into that 1970's disco thing. Musically I learned absolutely nothing from disco. And then with sampling in the '80's people weren't playing their instruments. It's getting back to [people playing] that way again. Which is important. Playing is an art form, so we need to move towards that again.
Does the lack of technique in grunge bother you?
Yeah… I mean taking nothing away from bands like Nirvana or those cats, but it upsets me that kids putting all their eggs in one basket… not being open to new ideas. This kid came up to me and said I should check out this new cat, Herbie Hancock…
Oh boy…
(Laughter)… I have to play this kid some Herbie Hancock! Kids need to go back to the roots, get back to basics first. I think musicians are starting to come back.
Say I'm a new player. What would your advice be to me?
Go back to the days of old. I'd say that to any musician. Go back at least to the early '70's and hear what like Miles Davis was sayin', and John Coltrane. 'Cause I think Miles made the transition when he did "Bitches Brew", and that kind of thing. Whether you like it or not, you will learn something. Those guys had their own voice on their instruments. Musicians need to develop that.

Article by Chris Cornish.
Editing by Dave Callari and Dave Cabelus

Copyright © 2001-2005 Robertopeland. All rights reserved.
Best viewed in IE5+ 800x600 32bit colors.


		Carter Beauford Interview by Chris Cornish - 1998 Thanks to Cyberdrum.com The Dave Matthews Band is without question one of the hottest bands on the planet right now. All one need do is take five minutes to scan the web to derive some vague idea as to their overwhelming popularity. They have more rabid fans dedicating web sights to them than any other band. DMB has a fresh sound that combines acoustics instruments with a unique vocal style that is melodic and almost percussive in effect. It would seem that Dave Matthews and Carter Beauford were born to play together, as the band's many fans would agree upon. They often trade licks and double each others parts which adds a tightness and an interesting interactivity between the opposite ends of the band. We were presented with the opportunity to interview Carter in the midst of a hectic and wildly successful world tour. We were thrilled at his accommodating attitude and willingness to speak to all the drummers he is influencing these days. Carter, let me start this by asking you about a little of the history of the band. How did you guys get together? About six years. Well actually, over six years. It started out as a three-piece thing with Dave, and Leroy, our saxophone player working on some of Dave's songs. He only had four songs at the time. And we were working on them trying to develop something out of them. To put them in a position where Dave could get the full view of what his tunes were going to sound like. And it didn't work out with the three of us. We managed to get a few things happenin'… you know... with the songs, but we needed a bass player. That was the bottom line. So, we ended up getting Stephon, who's our bassist now. He was like fifteen or sixteen at the time. We got him… yanked him out of high-school. How do you guys go about the writing process? Is it all Dave's stuff? It's a joint effort pretty much. Dave wrote pretty much all the songs in the beginning, but as a group we arranged them. And the songs that are written now come mostly from sound checks, where we just come up with a certain groove and some links and stuff, and we will just put things together that way. Jamming. Exactly. The credit to the song writing has to go to all five members of the band. You guys have been a touring machine this year. (Laughs) Yeah, we have. That's the truth. That must be tightening you guys up. It really has. We were off for four months through April and we were doing different projects. Different things, special things with some of our friends. I myself am working on a solo project. But that won't be out for quite some time. So when we got back on the road, it was like… whoa… it was almost like we never had played together(laughs). It was so strange. It took two to three weeks before it all came back together again. Runnin' like clockwork now. Is there a lot of interaction between you guys on stage? Oh yeah. That's one of the things we tried to establish early on in this band was eye contact. And keeping the ears open. You know… listening to everything that was going on. That's probably more important than playing the music and making it sound right. Without the ear training and the eye contact on stage, the music can go several different directions without knowing it. It can wind up becoming a train wreck. Where are you coming from background wise? I studied jazz. Well… actually as a kid I didn't study jazz, but my Dad was a jazz trumpeter, so I studied indirectly through him just from listening to him play with his band and hearing him put on the records. Every afternoon when he would come home from rehearsal he would just put on anything he could get his hands on. All the jazz greats from Gussie Smith, Duke Ellington, Ella Fitzgerald, Miles Davis, and John Coltrane, just to name a few. And I would hear this practically every day. So I really had no choice(laughs) but to listen to jazz. I did really get into the radio scene. The Top Forty stuff back in the early 60's which was like the Beatles of course, the Dave Clark Five, the James Brown thing… James Brown and the Flames, you know. I have to give a lot of credit, probably more credit to James Brown and all the cats who did the funk thing. That's pretty much where I'm coming from, like a jazz-funk kind of thing. I guess you might call it fusion. Well that's a pretty wide topic, anyway. I studied when I got older… to know who these people were. To know who the jazz greats were. And to understand them or try to anyway. I started studying people like Tony Williams, Elvin Jones, and Philly Joe Jones. Also Cozy Cole. Cozy Cole was one of the cats I got into at an early age. And of course, Buddy Rich and Gene Krupa. In fact, Buddy was one of the first drummers I ever had seen. My Dad took me to see this thing… this Buddy Rich concert. I didn't know what the hell it was about, but I knew that this Buddy Rich was the coolest looking dude. It just blew me away, ya' know? And from that point on I knew that drums were going to be my instrument. Are you completely ambidextrous? Yeah, Yeah. Damn you. (Laughs) I hate to say that because I never paid it much attention for years, you know? It's like…oh wow… maybe everybody is like that. I didn't pay any heed to it until other drummers would tell me they wish that they could what I do with my left and right hands independently. I just thought that was the case with everyone. So all these drummers are practicing to have their limbs equally balanced, but it comes naturally for me. And it feels weird that I don't have to do that. I started out playing with everything on my right side, my hi-hat, my snare drum. Totally backwards. I started out playing drums that way, but I saw other drummers playing and I was like… wait a minute… I'm playing wrong. So I just took everything and switched it over to the other side, 'cause I wanted to be like everyone else. And when I did that, I didn't pay any attention to the fact that I was doing everything with the opposite side of my body, it just didn't phase me. I opened it up because there were just certain things I could do better with it being open. You know what I mean? Absolutely. Like the interplay between the hi-hat and ride cymbal that you do… I can see how that's a 100% easier with it being closer. You use Yamaha drums. Which series are they? The Recording Custom series. I may switch to the maple custom because they produce a really nice sound. I've played the maple custom a few times over in Europe when Yamaha would send me a kit over there. I really like their sound. I guess I'm just so used to the ones I play now it's hard to make the switch. Are you using Zildjian cymbals? Yeah, all Zildjian. I'm using a mix on the hats. The bottom hat is a Z custom, and the top hat is a Zildjian New Beat. It has a really distinct sound. It gives off more of a chik sound, but it's not a washy chik. For the main ride I'm using a dark K. Sometimes I switch to a brilliant K that I use as well… it depends no how I'm feeling. If I'm in jazz state of mind, I'll use the dark K. It varies. Next I have a Zildjian Zill bell. I love that thing. Sometimes I'll ride on that and it gives you nothing but the bell sound. I'll incorporate that with the cowbell and the jamblocks I have. For crashes, the first one to my left is an 18" K… a medium I think. The second one is a Zildjian Z medium thin. I've had that one for a while now. Those things are loud! Yeah, yeah. In between there I was using a 8" K splash, but I broke that the other night(laughs)… so I don't know what's there now. But normally it's the 8" K. The second splash I believe is a 10" A splash, and then next to that is a 14" splash. And on top of that is a piggy-back type set-up with a 6" K splash. Above that are the piggy-backed China crash and China trash. The top is a 16" crash, and on the bottom is a 18" trash. The 16" has a brilliant sound, while the bottom crash is weird but cool sounding. It allows me to get three different sounds. I can hit the top and bottom individually, or hit them at the same time. That was an idea my drum tech came up with… and I was like, wow, that's a cool sound. So I started messing with it and it worked for me. It takes practice, of course, but it came with time. It's natural now and I can do it without looking. What kind of heads are you using? All Evans. I was using Remos for years, but with the Evans I'm getting a lot less overtones. Is that the EQ series? Yeah, right. Without overtones, it allows the natural sound to come through. The mics don't pick up a bunch of nonsense. Not to say that Remo… not knocking Remo, but the Evans are nice. What about sticks? I'm using the Pro-mark natural finish 5A's. In fact I have a signature stick out that's the 5A natural, which I really love. They're light, and they don't slip. I got so frustrated for years using coated sticks. I would try using sand paper to wear off the finish on the bottom of the stick…and I thought what a lot of work to use a stick. So they came out with the natural and I use them now. Plus, I like the sound that they have… not too bright like coated sticks are. How do you feel right now? I mean, the Dave Matthews Band is on top of the scene right now. I really don't think about it. I mean occasionally we'll hear about it… but we feel the same way we did when we started. We still have so far to go. I'm glad that everyone still has that attitude. Nobody's getting too big for their pants. And that's what I'm really digging' about playin' with these guys. Touring has got to be hard, but is it work? I mean it's got to be like being on vacation in a way. Well I don't feel like it's work at all. I'm having so much fun. I've been playin' for 35 years… Stop it… (Laughs)… It feels as it did 35 years ago when I was starting out. It's still fascinating and fresh. And if it does go sour it's probably time for me to bow out and do something different. I'd stay in the music industry but maybe not in drums. Let me throw some names out of your peers and see who your hip to. Dennis Chambers. Oh my God… Dennis! (Laughter)… He's my man! In fact on the first CD I had to thank Dennis for inspiration and the freshness he gives to all the drummers to come. The guy is incredible, amazing. That means a lot. Personality means so much. I mean, you can see a beautiful girl, but then you meet her and she's such a bitch. Dennis is just so genuine and real. What about Dave Weckl? Yeah… Dave as well. One of the kindest people on earth. And chops out of his… you know what! Steve Gadd? Oh yeah! Steve is like the fatherly figure. He pretty much laid down the foundation in the '70's with the syncopated high-hat thing and playin' around the beat. What drummers are you seeing on the scene today that you really dig? I'm really into Smitty Smith. He's a favorite. I've been checkin' out his stuff for about a year or so. I'm really studying him hard right now 'cause he just blew me away! Holy smoke… he's for real! When I met him on the Jay Leno show, I felt like I had known him for years… like he was my best friend How about Vinnie Colaiuta? (Laughter)… Don't even want to go there? (More laughter)… what can you say? The guy's in the hall of fame, and he deserves it! I can't find the words… That's testament enough. His solo album is great. I've gotta' get that. I remember the stuff he was doin' with Zappa (laughter)… He was just makin' people sick… (Laughter)… this guy will take the 1 and do anything that he wants with it (laughter)… incredible, incredible! He's so in the pocket. The splash things he does… in "Seven Days"… he just does some sweet things! Some of the splash things I do comes from there. What do you think of the music scene now? I feel that musicians are starting to be creative again… they're not falling into that 1970's disco thing. Musically I learned absolutely nothing from disco. And then with sampling in the '80's people weren't playing their instruments. It's getting back to [people playing] that way again. Which is important. Playing is an art form, so we need to move towards that again. Does the lack of technique in grunge bother you? Yeah… I mean taking nothing away from bands like Nirvana or those cats, but it upsets me that kids putting all their eggs in one basket… not being open to new ideas. This kid came up to me and said I should check out this new cat, Herbie Hancock… Oh boy… (Laughter)… I have to play this kid some Herbie Hancock! Kids need to go back to the roots, get back to basics first. I think musicians are starting to come back. Say I'm a new player. What would your advice be to me? Go back to the days of old. I'd say that to any musician. Go back at least to the early '70's and hear what like Miles Davis was sayin', and John Coltrane. 'Cause I think Miles made the transition when he did "Bitches Brew", and that kind of thing. Whether you like it or not, you will learn something. Those guys had their own voice on their instruments. Musicians need to develop that. Article by Chris Cornish. Editing by Dave Callari and Dave Cabelus Copyright © 2001-2005 Robertopeland. All rights reserved. Best viewed in IE5+ 800x600 32bit colors.