CITAZIONE
Deantoni Parks is a drummer with considerable style – it’s a subtle blend of mechanistic, well-timed beats and sensual, almost laconic, grooves. He is obviously self-assured but without being cocky. He’s interesting to watch but without being showy and damn is he skilled. Yes he is.
Before seeing him play with ORLG in San Francisco at the Great American Music Hall back in September (2010) I thought he was just another drummer in a long exhausting, and often disappointing, line of drummers who have played with The Mars Volta (and in Omar’s side projects). But after that show pretty much everyone, myself included, was pulling for him to be the next, and hopefully final, drummer to ground the band. Interestingly, while waiting for the band to take the stage an impromptu debate began as to who was the best “Theodore replacement”- a topic that never seems to die. Lots of back and forth ensued until one lone music nerd declared Deantoni Parks to not only be the most tangible replacement for Theodore, but the only player who would (not could, would) put an end to the “Theodore vs. Every Other Drummer Omar Ever Played With” debate. At that point the band swept onto the stage and began playing what Omar called “experiments.” The end of that onslaught had converted those who argued against Parks, and if you saw them play at the Great American back in April, then you have also been converted.
But aside from his growing legend as the next heir to the TMV drum thrown, Parks has honed his skills and developed his style through inspired collaboration with an eclectic group of musicians. From John Cale to Vernon Reid; Me Shell N’DegèOchello to Sade. And without being over-extended he also creates new mixes of old legends through his Dark Angels collaboration with Nicci Kaspar – also a member of their electric-funk trio, Kudu, which also features singer/bass player Sylvia Gordon. Seems like he’s got his digits in a lot of pies but he holds it down – somehow.
Fortunately for me (and you), I left my bag inside the GAMH after I did an impromptu interview with Marfred Rodriguez Lopez of Zechs Marquise. This provided me the opportunity to introduce myself to Mr. Parks who was hanging around talking to people. Even after I launched into a flurry of quips, comments and questions he still graciously agreed to this interview. It took place late at night, both of us were tired, but we managed to talk a long while about the why of drumming, the luxury of a music education and just how hot Sade truly is.
{ Deantoni is in the running to win the Art Takes London competition. Visit his portfolio page to vote!}
FLABmag: Who were you in the studio with tonight?
Deantoni Parks: Me Shell N’DegèOchello.
Fm: What kind of direction is she going in these days?
DP: She’s going in a sort of alternative folk, or maybe even a psych-funk kind of vibe. It’s really interesting, really good.
Fm: How many albums have you played on for her?
DP: This will be number 3.
Fm: Well working with her must be an interesting direction and leads to my first question because I wanted to ask you how you would characterize the work produced, the sounds you make for her as opposed to Omar Rodriguez Lopez?
DP: It’s just like dealing with a different curator or director. It’s completely, completely different. You have to approach each one in a very unique way, which is the challenge.
Fm: Does it ever throw you off? Have you ever been asked to do something so far out you couldn’t even go there?
DP: No, because that would be a failure. I have failed to work with certain people, but most of the time I’ve worked it out, or I adapt in some sort of way to make them happy.
Fm: That’s interesting, so there have been instances when you really couldn’t get down with whatever is was someone wanted or you couldn’t create something of your own accord that matched with what they were going for?
DP: (laughs) Right, well when I was kind of auditioning more and trying out new things, I found out I only fit in a certain, kind of small area in music, so I had better find people who were in the same area to help me.
Fm: Oh o.k. Well then what is your “area” or better how would you characterize your sound or feel?
DP: Ummm. I don’t know. It’s hard for me to say that. I kind of have to trust what other people think even though I do questions that. (laughs) You know what, I’m trying to do something new with the drum set, which is still a very young instrument, and I’m just trying something new which sounds audacious but that’s what I’m attempting.
Fm: Can you be more specific? What’s the “new thing” you’re trying to do? I mean, you’re an educator yourself and if one of your students came up to you and said, “I’m trying something new on my drum kit,” you would ask them to elaborate, right?
DP: (laughs) Yeah sure, but all I mean by “new” is new influences. Say, instead of looking to other drummers for vocabulary and terminology purposes, looking to other sources for inspiration. Like, obviously, looking to the drum machine for inspiration – that’s a big one, but, even beyond that, looking at the manipulator of the drum machine or the editor. Like how you’re cutting things up or adding effects to things; finding ways to do that on the spot and live – those sorts of things, which have already been introduced to us through the Kraut Rock experience. But you know, I just want to take that even further – somehow.
Fm: You were one of the first drummers to emulate the drum machine on an acoustic kit. Clearly this was premeditated but why? To what end? To stay relevant or to articulate yourself more distinctly from others drummer?
DP: Yes, a little of both of those things. Separation from other drummers, but also trying to propel and inspire others to go in certain directions. I didn’t see a lot of drummers attempting it at the time that I was getting into Square Pusher, Cujo, Ronnie Size and people like that. So I went after it because that’s just my nature: to go where I don’t see very many people going.
Fm: I read you were put on a kit at age 2 and your parents noticed you had a proclivity for the instrument right away. So they bought you your own at age 4. So was this (the drum machine emulation) a push forward into something beyond what you had already come to understand about drumming?
DP: It came with a deep passion for drumming, and music is – you know, the core of it all. So that’s always been there and within that passion is the by-product of wanting to blaze a trail.
Fm: Let’s go back to your childhood a moment. I was pretty amazed to read you were actually playing on a kit at age 2. I don’t even know if I was even walking then, maybe I was, but at what point in your life did you feel that this was going to be your career? Were you really young, and was it some sort of defining moment for you?
DP: I think that defining moment came when I started taking private lessons. That was when I was 4 years old and that by that point I just kind of knew. No matter if whoever was in charge of me at that point was going to let me follow that path or not. Personally I had made up my mind that that was…it was just pulling me so strongly that I had no choice really.
Fm: What is a compulsion or obsession?
DP: I think it became an obsession because it was just so close to my whole view of the world. You know, like my small disposition (as a child) – well that (drumming) ruled it. So I was definitely at mercy to this feeling and facility.
Fm: How old were you when you joined your first band? Because, as we know, it’s one thing to take classes, practice your rudiments and drum alone up in your room, but another to play in a band, and what was that feeling like – in comparison to playing alone?
DP: Well I played with these guys who were a lot older, probably like in their 30’s – at least. They lived in my neighborhood and they were some of the best musicians around my neighborhood. I played a couple things with them and I was interviewed on a local news program from Atlanta that came to my house to film me playing with them. We were playing like these fusion, almost like progressive rock kind of, instrumental jams. It was crazy.
Fm: How old were you then?
DP: I was 4 years old then.
Fm: What? Are you kidding me?
DP: Yeah, next time I see you I’ll show you the video.
Fm: I definitely need to see that. You know, I never believed when people say “So and so was born to do x” but I guess there are those people? You were definitely born to play drums.
DP: Right. I mean my life is very simple, but I also made it that simple, and I’m just following it for now. Though other things have come out of it, it is the core of my life.
Fm: Well let’s talk about Boston, when you were living there you wrote something called the “Now Wave Movement.” Can you elaborate on that?
DP: That was one of the by-products of my passion for music and just being aware of the timeline of music and where I am coming in on that timeline. You know? I’m coming in after Tony Williams, Chick Webb, and Neil Peart. It’s just not real flattering to be a drummer drumming right now and then you’re competing with drum machines and the super accurate rhythms of Drum & Bass, and even Post Drum & Bass styles. So there is a lot to be responsible for and it’s actually kind of intimidating.
Fm: Let’s step back and unpack that statement, “It’s not real flattering to be a drummer right now.”
That’s a pretty intense statement. What do you mean by that?
DP: I just mean it’s tough. I mean to be a really great drummer today, 2011, it means a lot more than it used to because the bar has been lifted so high. First of all if you’re a drummer today you have to be writing and sequencing and a lot of acts look to the drummer to do things like that but it’s just also a different level of what’s going on right now.
Fm: That’s interesting that you mention that some acts ask the drummer to write and contribute their parts because there is this prevailing idea that drummers often get short-shrift in the band – “First to Be Fired” type of thing. But in a band like The Mars Volta the drummer was always a focal point, which was probably why so many people flipped their lid when whatever happened, happened with their primary guy (Jon Theodore), and now you have come along and seem the likeliest heir. And, if the San Francisco show (April 12, 2011) is any indicator, the band seems to be reborn. Seriously if that is the trajectory I believe their fans will stop squawking about the past. Anyway, would you say that is a fair statement?
DP: Well drums are really important to them. They really do “give the drummer some” you know and it’s great for a band to do that because it is kind of rare.
Fm: So you will be able to contribute to the music this time, put your spin on it, right?
DP: If I’m lucky then I would love to be as involved as they want me to be.
Fm: But you are going to be playing on the next album, is that correct?
DP: I hope so…we’ll see when the record drops.
Fm: (pauses) What? But you all looked so happy together (at the show). It makes the most sense and I know a lot of TMV fans want it to happen.
DP: Well get everyone that wants it to happen to write in and maybe it will happen.
Fm: Should we start a petition? Because I will start a petition. Believe me I will get that going!
DP: (laughs) Great! I want to see t-shirts, the whole thing.
Fm: I’m on it! But the curious thing is you do work with a lot of different people, your own band, Kudu, which is going to have their first record released on Sargent House this year and then Me’Shell. Will you be touring with her to support her new album?
DP: Me’Shell is a family member and I’m going to do whatever I can with her.
Fm: But you can’t tour with all them at the same time. Do you feel over-committed sometimes?
DP: No. I’ve only been playing with a few people for a long time: Vernon Reid of Living Colour, Me’Shell, and John Cale of the Velvet Underground. These are the people who are helping me to develop, and were giving me a little bit of a spotlight in the early 2000s, you know what I mean? So I am very loyal to them. So I’ll make it work. It’s how I always have done it anyway.
Fm: Well let’s talk some technical stuff. You’ve drummed on a number of kits over the years but do you have one you especially love? A certain size of bass drum or sticks you always use?
DP: Uhh I don’t like talking drum kits and hardware, and I’m not sold on any one company because personally I think the best drums are yet to come. So basically I’ll use whatever is available.
Fm: So you have no brand loyalty?
DP: No I don’t because if there were one (brand) that I liked I’d have no problem working with them. But when I have to make a purchase I do but it’s not like I need company x or whatever. I’m pretty easy going.
Fm: I noticed you used the same kit Marcel (Zechs Marquise, The Mars Volta) used the other night (in San Francisco) at Great American Music Hall.
DP: Right, as long as all the pieces are there I’ll work with it. I try not to focus on the equipment. I guess if I played guitar it might be different but for a drum kit it’s pretty simple. I mean you hit it; it’s simple. But I’d like to give the drum kit a makeover.
Fm: Well if you had the opportunity what would you do with it?
DP: I’d pull in great designers because it’s really about how they look. They already have a sound that’s great, but it’s the presentation I’d change to something that inspires me to go to a different place. But honestly, as far as playing, whatever is there I’ll use. It’s simple.
Fm: Changing topics here, let’s talk about your approach to instruction. You have taught classes at your alma mater, Berkelee School of Music. Tell us about that experience.
DP: That’s a good topic! First of all let me say I have respect for teachers of all kinds, especially those that work with kids because it’s serious work. But as a music teacher I felt connected to my students right away because I had been to Berklee so I knew exactly what I was missing from the program, and also things have changed quite a bit since I was there back in ’96.
Actually a lot of the same teachers are still there but I feel like I have a lot to bring to the table as far as teaching.
Fm: Ok so hypothetically, it’s the first day of class, what would you say to me if I were your student?
DP: The first thing I tell all my students is that no matter which instrument you play there is power in nomenclature.
Fm: What does that mean?
DP: That it doesn’t matter if you play violin, drums, piano…think of yourself first as an artist regardless of what your instrument is. So you are an artist who happens to play, say, the flute. You know what I mean? It’s the first thing I do that widens their canvas.
Fm: So you don’t make them adhere to a regimen of fundamentals or exercises? You just let them find their own way?
DP: No…well…it depends. Because to me its more about the big ideas. So if they can figure out the smaller details of the larger ideas then…well there’s a lot of fear in there…of thinking in groups, of grouping things together…say for example, an ensemble. I made them look up references outside of music for them to find the certain mood in the music I wanted them to understand. So I had them look up actors, director, actors, directors or subjects of documentaries, whatever they could get inspiration from. Because that is something I didn’t get when I went through the system and I wanted to provide that experience since I didn’t get it.
Fm: So instead of adhering to a set of standard tropes in music education you wanted to challenge them to find musical inspiration in other forms of art – challenging them to think more broadly?
DP: Yeah, something like that.
Fm: Getting back to your time as a student at Berklee who was your best instructor?
DP: There was this legendary drummer, Kenwood Dennard, he was definitely my favorite person at the school. For whatever reason I felt a kindred spirit with him. Most of our lessons together were us just talking, and I realized how important that was, but I just admired his career and his passion for music and music education.
Fm: Speaking of musicians worth admiring, someone told me you worked with Sade, is that true and if so, how did that come about?
DP: I’ve know Stuart Matthewman, the producer of all her records, for many years. He’s so generous and so great. He brought me in to do some shows with her and she’s just a really great person as well.
Fm: She’s so mind-blowingly beautiful I don’t know if I could be in a room with her or speak to her.
DP: She’s even more exotic in person, even more desirable.
Fm: Damn. I can imagine she would be. But, I got sidetracked. I know you went to Russia back in November with the Omar Rodriguez Lopez Group. Was it your first time touring there?
DP: Yeah, it was my first time there and I have to say it was extra intense. It was short, just three days, but it was one of those tours where you fly into every date and honestly I didn’t eat very well. A lot of these types of things is just eating and drumming. I didn’t get much sleep either. It was rough because I’m also vegetarian so I gotta eat correctly, and I wasn’t getting enough protein. Actually, I’m sure there are better places to eat than the ones we had access to but it was rough (laughs). Actually one night I was experiencing a lot of cramps, like my hands, my arms, everything just kinda locked up but I had this amazing guardian that I call Chase and he came and fed me bananas – it became like a big deal. We became an item after that. Seriously, we had two songs left and I couldn’t even peel them myself, so he did it for me.
Fm: Have you had any ailments over the years and how have you coped with them?
DP: I had carpal tunnel early on in high school and I mean I had it pretty bad. But then I switched my diet and that really helped me out. I quit eating meat altogether, but then added fish back in, and that has helped me to be prepared to play in any situation.
Fm: Do you do any exercise regiment to stay fit?
DP: Well if I’m drumming a lot than I don’t have to exercise as much, but if I’m not I’ll swim. But, you know, the actual drumming itself is such a good work out for me.
Fm: I take it you don’t smoke cigarettes, right?
DP: No, I never, never have. I mean, I have in some instances, like when I was a teenager on my first trip to the South of France and all these French girls were like, “Have a cigarette with me.” And I tried but I failed horribly. (laughs)
Fm: So I was asked to ask you a few TMV related questions though you may not want to answer them.
DP: Oh god.
Fm: I’m going to go ahead and ask you anyway.
DP: O.K.
Fm: (laughs) Here goes, how would you compare your style to that of past TMV drummers.
DP: (sighs) Oh god…
Fm: You hate that question, don’t you?
DP: (laughing) Well it’s already a pain coming in after so many guys…you know what I mean? I like to date a girl and not have to know about the four dudes she dated before me, you know?
Fm: I feel you, but wait, why didn’t you stick around with them the first time they asked you to play back in 2006?
DP: Because I was already working heavily with John Cale at the time, and also Kudu. And, to be honest, at the time, I was just more loyal them (Cale/Kudu), obviously. And, you know, they (TMV) were looking for drummers too. I was just there to fill in or whatever. I mean I clicked really, really well with Omar and I always remember that so I never blocked out the idea of working with them again. It was just that time, it was a weird time for me to join then so that’s why it didn’t happen.
Fm: Were you at all intimidating by playing any of the older music?
DP: I just didn’t have, you know…if I had been in the band like Theodore – the first drummer who recorded the records – well that’s a whole different thing. But I was just coming in on that 2006 tour. Like I think we only had a couple weeks, maybe a week, to prepare. Whatever it was, it was a pretty quick turn around so the only thing that was intimidating was the time factor. If I had the proper time and proper dedication to it, it would have been a little different. I mean, it was fun. I had a good time. I wasn’t intimidated – just wanted to get them what they needed and I had a short amount of time to do it.
Fm: That’s understandable. Let’s just move off that topic but if you end up being the TMV drummer I think it will make a lot of people happy.
DP: It’s nice of you to say that.
Fm: Well it’s true. Let’ move to another question. Who out there playing drums today intrigues you?
DP: I wish I could name you ten people that I’m, like, afraid of out there in the drum world, but I’m not.
Fm: (laughs) Dayum!
DP: No seriously I know there are some great players out there right now but I can’t name any. You know, it’s like that brother I never had – I never had a brother, but I want a brother (laughs). That’s how I feel about it. But yeah, there’s nobody, but I’m gonna work hard to have somebody by the next time I see you.
Fm: I look forward to it. One last question. If a fledgling drummer wanted to drum in the sort of mechanistic drum machine style you have mastered what rudiments should they focus on, or more importantly, what records should they own that would help them along that path?
DP: I think the key to unlocking that part of you is in the ideals of Kraut Rock. Go back a read what that genre was about because it’s really about exploring not just the sounds themselves but the ideas. I’d go back and start there, because really, all the new things are hidden in the past.
Fm: But, whom would you actually suggest for a listen?
DP: Obviously, Kraftwerk and I love Yellow Magic Orchestra just for the drumming. It’s very mechanistic. It takes you away from the fact that you see the drummer. But I also love a lot of keyboard players. I’m a closet keyboard player. I do a lot of writing on keyboards – love, love the keyboards. I’m a big fan a Klaus Schulze and Kratfwerk. Seriously, a lot of it’s in Kraut Rock. The older I get the more I realize that a lot of what is being played today is tied to that genre.
Fm: Well, there you have it: go buy some old Kraut Rock records.
DP: Yes, do it.
