All styles: Pop, Funk, Rock, Funk/rock,
Soul, Dance, Latin, Jazz, etc.
French: Patrick Sebastien, Marie Myriam, Pechin, Michel Drucker
French TV Channel 1 Show 'Stars', and the many artists featured
at La Boulangerie des Tuilleries in Paris where Dom was bandleader.
International: George Carl (US), Jaques Anthonin( Canada),
Antoine Tome, Amanada Ambrose (US), Isaac
Hayes, Johnathan Gee, Val Kelly, Freespirit, Vall.
For deps, session work,
recordings and tours whenever available...
call or e-mail. Call me for anything which worth it.
Teacher: (see www.schoolofrhythm.com)
Yes. I give drum tuition to beginners and advanced students in South
East London (Forest Hill - SE23, Sydenham - SE26, and Dulwich-area).
I am quite busy performing and managing my bands, but I manage to
free time to teach drums 4 days a week near Forest Hill Train Station.
I have ben a drum teacher
since 1982 after the release of my first drum book. That's a lot
of students... hundreds of aspiring drummers from 6 to 78 (truly).
Quite a few have truned pros.
I love teaching drums. I consider it to be a very important part
of my activities. In this context I can be very patient... (don't
ask me why!)... an attitude which is very welcomed by beginers.
improve very fast, some face more difficulties.
From one person to another there can be a world of difference. like
if they were coming from different planets - actually... I am sure
they do! But in both case it is obvious that learning drums is therapeutic.
Observing my students changing and growing is very rewarding.
teaching is more about listening and observing than talking all
the time. When you have a potential young genius on your course,
you don't teach as if s/he was 'like all the others'. When your
student shows mental confusions or/and coordination difficulties
you don't teach him 'like all the others'. Each student is different,
people are different. They have different level of physical abilities,
different IQs and a different musical sensibility. 'I just teach
them like all the others' is a sure failure as a teaching approach.
I am not a music
therapist because my purpose is to teach them how to play drums,
not to cure them of anything. But on the way to becoming a proficient
drummer various obstacles arise that we will have to overcome.
Of course we
face obstacles! We have to reach a complete control of these four
limbs doing different things at the same time - strange things that
no-one has ever asked this body to execute before undertaking this
drum study! We will have to do all sorts of movements at the same
time with feet, arms and hands but it has to be done in a coordinated
manner. You may be asked to play three strokes with the left hand,
one on the right foot, two with the right hand, and play your left
foot in-between each right foot. You play them all together until
you can maintain it for several minutes... some of these strokes
are played louder than the others at specific instants... and to
top it all what ever you do is to be done at a perfectly regular
speed, and it has to be all perfectly synchronised and 'tight'.
And it goes on and on.. until you can speak with your hands and
feet as easily as you can speak with your mouth and tongue.
of my course is to use very gradual steps that lead to full control
of the instruments and to be able to manage these steps according
to each individual student. It is never the same.
Of course I
also give advanced drum courses. My advanced students are jazz,
rock, funk, latin , pop etc. players and they are an exciting part
of my teaching.
me a call or email and we
will see if I can fit you at a convenient schedule.
In fact, I have founded and run the biggest private music chool
in France from 1983 to 1992. I only take few students in the UK
today for the pleasure of teaching drums. I am performing a lot
and I do not want to be swamped into the management of another music
school.If you are in the area, call me. Children and adults welcome.
If you whish to become a great drummer, a good teacher will help.
I have written something
for you about this
would you define your drumming?
I have been a pop,
fusion, jazz and Latin player in France for years. I went in the
Guinness Book of World Record in 1986 for having played the longest
drum solo... To day is completely different.
I have realised a
while ago that 'space' is the key in most drumming sessions. You
are there to create space that the musicians will fill up with harmonies
and various rhythms. Then the singer or the soloist(s) bring the
melody line(s) and a more concrete message to the tune.
There are different
styles of music and drumming must follow their rules. But in pop,
dance, soul etc. or let's say outside fusion, trash metal, free
and 'modern jazz', the less the drummer plays the best the music
sounds. When the audience is supposed to dance or sing along, the
drummer should better focus on the groove and not try to be too
'original'... which is not the most easy thing to do. It is a different
state of mind.
I have the highest admiration for Steve Ferrone.
Let's say that I
am trying to become simpler and simpler in my playing. I absolutely
LOVE performing behind a great singer who has something to say (some
My job is to set
the pace, keep a good timing and feeling for that song and allow
space for the other guys in the band do the same. I believe my role
is to serve the music, the musicians around me and above all the
As a jazz or acid,
funk drummer well then I love to explore rhythmical ideas as
deep as possible while keeping the swing or feel of the tune. I
love jazz & funk and searching new grooves. In such context
I am not an 'academic' disciplined player but rather instinctive
I also enjoy playing jazz standards from 30s and later on.
One of my teachers in Paris was Kenny Clark...
music... they try to define it with notation, essays etc. But it
is communication. It is a spiritual thing - a love thing. But it
is communication and drumming brings the backbone of the tune. Each
song is its own universe. Each song has it own message. A song has
a life of its own.
Music was here before
musical education. Teachers and schools tend to forget this. Like
if music was originating from somewhere else than the guy who is
playing.... Like if it was like learning accountancy or how to make
a cup of coffee. You could probably write a very thick book about
'how to become the best cup of coffee maker in the world' and that
would make you look like if you knew something no one else knows,
and the media would probably suggest that you are a genius. But
at the end of the day, there are very few rules to make a good cup
of coffee. It is the same for music.
I love players who
are not stuck into the status-quo, have kept their dreams and freedom
of expression with their instruments while keeping in the style
of the music the band is playing.