Many drummers have admired the excellence of Dave Weckl’s technical brilliance and rhythmic expression; his attributes shine musically in so many aspects of drumming. His passion is evident as he continues to strive forward globally with the greatest of iconic musos from today’s jazz fusion element as Mike Stern, Chick Corea, Bill Evans.

His reputation goes before him but just to outline a brief history, he was brought into focus in 80’s as he took over the drum seat from Steve Gadd with Simon & Garfunkel reunion tour. Then took the opportunity of seven years with Chick Corea’s Elecktric and Akoustic Band receiving high acclaim for his accomplished efforts with the band. The 90’s saw the launch of his solo career with album’s ‘Master Plan’, ‘Heads Up’ and ‘Hard Wired’, which earned him critical acclaim amongst drummers worldwide. His instructional books and DVD’s continue to grace the retail shelves and are used in music schools as a reference for development.

He maintains his innovation by introducing ideas to his endorsement companies in order to create and improve instrumental tools for better ease and expression for all drummers.

You’ve toured and worked on several projects this year - what have been the highlights?

Yes, I’ve been fortunate to do so many diverse projects this year (and the previous really), both on the road and in the studio. I went to Köln in Germany with Bill Evans to play and record his music, arranged by Mike Abene, for the WDR Big Band there. That was a blast. We will tour that music later this year (09) as well.

Mike Stern kept me very busy with different versions of his group, going to EU twice, Asia a couple times, and a few gigs here and there in the States. We recorded a live DVD in Paris last May, which I mixed the audio for, and should be available by now (New Morning Productions). Playing with OZ Noy has been a new experience this past year, and that is different for me, more rock than usual, but a lot of fun. I just recorded a few tunes for his new record this past December, to be released later in 09. I got to work with Metro, which is Chuck Loeb and Mitch Foreman’s band quite a bit last year, both in the states and in EU.

In early September I took part in the ‘Drum Fantasy Camp’ for the 2nd year in a row, along with Steve Smith, Horacio Hernandez, Tony Royster Jr and others. Also in September, I got to play with the Grammy winning ‘Caribbean Jazz Project’, Dave Samuel’s band, and that was both a lot of fun, and very educational, playing with the wonderful conga player Roberto Quintero. I’ve done some clinics for both Sabian and Yamaha, and recorded many songs for a very diversified group of artists, at my home studio in CA, through my on line recording service that I offer from my web site (www.daveweckl.com)

What are the disciplines and responsibilities involved in working for Chick Corea or Mike Stern as opposed to leading your solo project?

Well, being a leader is completely different than working for anyone else. The leader hat requires A LOT of responsibility and constant maintenance. It is a lot of work, especially without management or real assistance (except for my agents) in the prepping. I had to give that role a break for a while, so yes, I’m working with lots of others at the moment! I still have the responsibilities to get my equipment together for tours, to coordinate with the companies to insure I have what I need. Other than that, it’s pretty much learn the music, show up on time, play 110% every night, and that’s about it!

You have a great relationship with your equipment and always striving for the development of sound and options to make it easier for the working drummer – do you have an interest in design or engineering?

Not in technical terms. I have ideas from the practical, artistic side, as applied to the instrument, and have implemented them in the products I’ve helped to design with Sabian (HHX Evolution/Legacy), Yamaha (signature snares), Vic Firth (signature sticks) and Remo (muffling products). As I think of new things that could be useful to me as a player and the market in general, I hope to continue on this path of development and helping to advance the craft.

Gary Chester and Freddie Gruber have been often mentioned as part of your learning curve – what have been the key elements that they’ve contributed to your development?

In a few words, Gary focused on, and forced really through his methods, extreme coordinated independence between the limbs, which helped to improve that ability and therefore improve all around consistency and concentration. Freddie, although helping and pointing out technical issues, showed me how the laws of physics really applied to playing the instrument. He showed, through relaxation and body movements, how to play more in time, with a better feel, and how to get a bigger, more open sound with less effort. The ‘path of least resistance’, as it were.

Injecting dynamics is part of performance whether playing ‘live’ or in the studio – any tips on how to develop this expression?

First one has to ‘hear’ the dynamic they want to create, and be aware as to how they will affect the groove and feel of the song. Singing a groove with dynamics you want can help. After that, it is a matter of technical ability as to how much control one has to keep the feel happening while using dynamic contrast.

There are many rhythm focused drummers out there – what importance would you place on playing a melodic instrument?

In my opinion, playing and understanding a melodic instrument is so valuable, in many aspects. To me, it is a necessity if you want to become successful in the ‘music’ business. It is not just the ‘drumming’ business that sustains my livelihood. Although I plan to spend more time myself getting better at this aspect (with piano), I have a bit of knowledge already which has helped me to write music, and hear things from the drum chair quickly, to come up with the part fast. It also helps me to play the drums from a more musical aspect, using melody in my grooves, fills and solos. So, VERY HIGH importance is the answer!

Are there any other genres that still hold your fascination musically?

Well, there are lots of styles of music that I love to play and listen to. I guess the Latin style, Salsa/Cuban, and the different rhythms from the ‘Islands’, is always something I wish I had a better knowledge of. There are so many different rhythms from those areas of the world that vary depending on where they come from, so for us ‘gringos’ it can be confusing at times. But I love the feel of that music, it makes me feel good! Other than that, there is always some area of the world that has different harmonic or rhythmic nature than what we might be used to, coming from ones own culture. It is this I find fascinating!