drum! supplement: august 2015: will calhoun

Will CalhounLiving Colour Takes

A Giant Step

D I G I T A L S U P P L E M E N T

2 DRUM! August 2015 DRUMmagazine.com

IT TAKES GUTS TO STOP A HIGH-PROFILE RECORDING SESSION IN ITS TRACKS TO TELL YOUR BANDMATES THE UNVARNISHED TRUTH WHEN EVERYTHING IS ON THE LINE, ASWILL CALHOUN DID TOWARD THE VERY END OF THE SESSIONS FOR LIVING COLOUR’S LATEST STUDIO ALBUM.

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In late summer, Living Colour will release its sixth studio recording, an

album called Shade, which was originally due out last fall. Of course, the

success of its timetable depends on whether everything goes according to

plan, and when we spoke with the band’s drummer Will Calhoun last year,

plans in the Living Colour camp weren’t running like clockwork. “It doesn’t

make sense to go this far and then get to the end and not satisfy everybody’s

needs,” Calhoun argues. “So we’re going to redo a few things and not rush it.”

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WILL CALHOUN We’re talking about the process of recording Shade, but Calhoun might also, if subconsciously, be referring to the importance of the new album in the context of the band’s landmark 1988 debut release, Vivid, and the recordings that followed. “The sound of the band; it’s important,” Calhoun says. “It changes, but it also has relevance to the past. Vivid put us on the map and we need to make certain we don’t abandon some of those sonics.”

A CLOSED LOOPLiving Colour recorded all of its shows on a 2013 tour that celebrated Vivid’s 25th anniversary and, last fall, in lieu of Shade, released Vivid 25 — Live At The Paradise, which was recorded on April 5, 2013, at Boston’s Paradise Rock Club. The live album showcases Living Colour playing Vivid in its entirety along with a studio track, “Freedom Of Expression,” which will reappear on Shade.

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WILL CALHOUN’S KIT

DRUMS Mapex Saturn IV (in SNL Natural Ash Burl finish)

1 20" x 16" Bass Drum

2 22" x 16" Bass Drum

3 13" x 6" Nomad Black Panther Snare Drum

4 8" x 7” Tom

5 6" Bauer Tamborim

6 12" x 9” Tom

7 13" x 10” Tom

8 16" x 16” Floor Tom

9 18" x 16” Floor Tom

CYMBALS Sabian

A 14" Will Calhoun Series Mad Hats

B 19" Ozone Crash With Rivets

C 20" AA Bash Ride

D 21" Will Calhoun Series Lunar Ride

E 19" AA Crash

F 17" Click Hats

G 4"/6"/8" Stacked Will Calhoun Series

Alien Discs

H 18" Hammerax Boomywang

PERCUSSIONI Gon Bops Chrome Cowbell (top)

J Gon Bops Red Rock Bell (bottom)

ELECTRONICSK Original Korg Wave Drum

L Korg Wave Drum Global Edition

M Mandala Drum

N Mixer

O Roland SPD-S Sampling Pad

P Porter & Davies BC2 Throne Thumper

Q Pedalboard: Digitech Whammy, Pigtronix

Envelope Filter, Infinity Looper, Echolution 2,

Prunes & Custard Distortion

Will Calhoun also uses Mapex Armory hardware, Sleishman and Duallist pedals, Vic Firth sticks, and Remo heads (Snare batter: White Coated Emperor X; Tom Batters: Clear Emperor; 22” bass drum batter: Clear PowerStroke 3; 20” bass drum batter: White Coated Ambassador).

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If the drum tracks on Vivid 25 stayed true to the original versions, it was by design. Calhoun wanted audiences at the anniversary shows to feel like they did when they heard those songs for the first time, which, according to Calhoun, meant taking the material “with the proper tempos.” With the exception of a couple songs, “Funny Vibe” and “Cult Of Personality,” this found him playing to a click on stage for most of the night, a wise practice by any measure, which he continued to employ during the band’s Synesthesia Tour this past fall.

Ever the stickler for authenticity, Calhoun also altered his live setup for the Synesthesia Tour to recreate the sounds he brought to Living Colour’s early recordings. The drum set he used for the band’s latest gigs is similar to what he played on Vivid, which was recorded on a Tama kit Calhoun purchased in high school, and later took with him to the Berklee College Of Music. After playing a 20" bass drum for a long time, he switched back to a 22" for the 2013 tour and new albums.

It’s been years since he pumped a 22", but he almost had to switch, out of self-defense, as much as anything else. In the ’90s, Calhoun points out, bassists and guitarists started going to six- and seven-stringed instruments, and tuning their axes down by any number of steps. “Sometimes you’re fighting over sonic real estate,” he says, admitting that he prefers not to rely on the mix to clear up low-end muddiness.

For live performances of Vivid and the new material, using a bigger bass drum simply made sense. “This time, due to the 25th anniversary tour, and playing Vivid top to

bottom, I kind of started to re-engage myself in the 22" bass drum, which just sounds tremendous. And the music is pretty big and it’s bluesy, so the sounds actually work.”

CULTURAL IMMERSION Calhoun spent a lot of time over the past several years visiting Mali, where he’s been learning another musical language and working on an album with local musicians — a bucket-list project originally conceived when he opened up a National Geographic magazine at the age of five. In fact, Calhoun has traveled to West Africa for the past 20 years, studying various rhythmic traditions and, by extension, the Mandinka culture (his parents’ families are from Guinea Bissau and Sierra Leone, places that were once part of the Mali Empire). Calhoun took Ph

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“ WHEN THIS RECORD IS DONE, THE PRODUCER [ANDRE BETTS] GOES ON TO THE NEXT PROJECT. WE HAVE TO GO OUT AND PLAY THE MUSIC. SO WE HAVE TO MAKE SURE WE ENJOY WHAT WE’VE ARRANGED AND PLAYED.”


WILL CALHOUN his first pilgrimage to West Africa in 1995, when he played at the Gnaoua World Music Festival, in Essaouira, Morocco — “the first country that got under my skin.” From Essaouira, he ventured north to Jajouka, where he experienced the centuries-old percussion vocabulary of the Master Musicians Of Jajouka, whose early recordings had long inspired him.

After recording tracks for Malian vocalist Oumou Sangaré’s 2009 album Seya, Calhoun toured the United States with Sangaré and picked the brains of other musicians in her group, including a djembe player who suggested he hook up with Guinean drummers. Mali quickly became a targeted destination, and what he learned there soon informed his drum set playing.

For instance, on his 2013 jazz album Life In This World, Calhoun included an arrangement of Thelonious Monk’s “Evidence,” a choice inspired during a visit with a group of Malian musicians. “When the baliphone player was showing me this pattern,” Calhoun explained, “I was like, ‘Why does this sound so familiar?’” Back in his hotel room, Calhoun called up “Evidence” on YouTube and found that the rhythm he’d been exploring fit like a puzzle piece into the Monk tune.

While applying the rhythms he explored in West Africa has been inspiring, it hasn’t been without challenge. At times, he says, “I was way out of my element.” He had to figure out, for example, how a particular pattern could be played on drum set without it sounding like a James Brown breakdown. The irony of that bit of humor wasn’t lost on Calhoun, who pointed out that Brown’s Nigerian tour in 1970 — during which the musicians in his band

experienced the music of Nigerian Afrobeat pioneer Fela Kuti — had an influence on the Godfather Of Soul’s sound.

But it isn’t as simple as you might think to import West African rhythms to the United States and plunk them in the middle of a western context. It takes a deft touch and cultural sensitivity to get it right. “The thing about teach-ing someone from the States, or a Westerner, the music is …” he trails off, searching for the right phrase. “You don’t tell them where the 1 is, because they’re just going to lose the plot.” It’s best, he says, to let that person groove on it however he wants to, before having to unlearn what he’s been taught.

All things considered, the most valuable part of Calhoun’s West African explorations was the chance to experience ancient spiritual and musical rituals of Malian hunters, who don’t normally perform ceremonial music with outsiders. During his fifth or sixth trip, he made a point of visiting one particular village where a child on a moped approached him, asked, “Are you Will Calhoun?” and told him a few hunters would play for him the next day. “I recorded with them and it was incredible,” he says, pointing out that he was spared having to endure initiation rites he didn’t particularly want to know about.

Malian musician and composer Cheick Tidiane Seck, who appeared on and produced the drummer’s Life In This World, is producing Calhoun’s Mali album. “I don’t want to get too political here, but there would be no Weather Report and a lot of other bands without this guy,” Calhoun asserts. Once he started going to Mali, in fact, the drummer began to understand why he was attracted to Weather Report’s music in the first place.

A S E L E C T E D W I L L C A L H O U N D I S C O G R A P H Y

1990Time’s UpLiving CoLour

1988VividLiving CoLour

1992You Have To Cry Sometimesnona Hendryx

1992Music For The Fifth WorldJaCk deJoHnette

1993StainLiving CoLour

1994HouseworkWiLL CaLHoun

1995High LifeWayne SHorter

1997The Blue Ladydoug Munro

1997Hotel RealCarL FiLipiak

1998HymnsCory gLover

1997Jungle FunkJungLe Funk

1999Trippy Notes For Bassdoug WiMbiSH

2001Electric SufidHaFer youSSeF

2001Overdubdavid garza

2002Front End LifteryoHiMbe brotHerS

2002Falage CanibalLenine

2004The New DangerMoS deF

2004Legs Make Us Longerkaki king

2005Native LandsWiLL CaLHoun

2005Cinemadavid SanCiouS

2007Improvisczariobernie WorreLL

2007AfricaLeni Stern

2009The Art Of ImprovisationCHarnett MoFFett

2009SeyaouMou Sangare

2009The Chair In The DoorwayLiving CoLour

2012Truth To PowerStone raiderS

2013Life In This WorldWiLL CaLHoun

WILLCALHOUNLIVINGCOLOUR

S AT U R N VM A P E X D R U M S . C O M / S AT U R N - V


WILL CALHOUN In addition to the local hunters and Malian musicians

— including Sangaré, Vieux Farka Touré, and Toumani Diabaté — Calhoun invited a few American artists to play on the record, such as keyboard player Bernie Worrell and bass player Darryl Jones, but insisted that the musical par-ticulars would have to make sense. “What I don’t want to do is pop a rapper on some 50,000-year-old spiritual,” he says.

THE SOUND OF SHADEThe very day Living Colour’s Synesthesia Tour began, in September 2014, Calhoun arrived home from his most recent trip to Mali, collected his drums, and met the band’s bus in New Jersey to hit the road. For the tour, Living Colour added a handful of new songs to its set, along with some more obscure tunes from its catalog and several covers. Having played the new songs live, Calhoun says, “I have a better gander on my drum sound.”

It wasn’t the first time Living Colour performed unreleased music for live audiences. “Stain came out great,” Calhoun says, “because we literally went out and played those songs before recording them.” The band recorded that album at Bearsville Studios, near Woodstock, New York. In the evenings, Calhoun and his bandmates would head to a bar on Tinker Street where they’d ask to sit in and play some of the material they were working on. Of all the albums Living Colour recorded, Stain is Calhoun’s favorite precisely because of the litmus test the band put those tunes through before tracking them. “We really did a combination of lab testing and people testing,” he says.

The band also wrote the material, recorded it, and mixed Stain in a variety of different locations, which, evidently, had a gratifying influence over the final product. In stark contrast to his satisfaction with the sound of Stain, something gnawed at Calhoun as the band wrapped up tracks during the first round of recording for Shade, which were written, recorded, and mixed at Universal Music Production Center, in Hackensack, New Jersey.

“I don’t know if I’m going to feel the same about it at the end of this tour as I did at the beginning,” he says. “I can tell you right now, there’s already a few things I may go back and redo, and not because of my parts. When this record is done, the producer goes on to the next project. We have to go out and play the music. So we have to make sure we enjoy what we’ve arranged and played.”

True that, but it’s hard to pinpoint exactly where the train came off the tracks. After all, the band followed a time-tested game plan employed by many of their peers — writing new songs, demoing them, and then recording them, with a few weeks between each stage of the process to let things settle. “We did some digital homework on the stuff” during those breaks, he explains, but in retrospect, may have also analyzed the life out of the music. “We went back to things that we thought were not cool, that we didn’t like, that we felt [weren’t] grooving, and we just overthought it, over-improvised it — we beat the culture out of it,” he says. “We were standing around saying, ‘This sounds hip,’ and it wasn’t funny when we brought people into the studio, our mates, and then you put the old track up and everyone’s like, ‘What’s that?’”

Inspiration, after all, can’t be ordered up like a blue plate special at your favorite funky diner. “The magic comes when it comes,” Calhoun says. “And it started to come just at the later end of tracking.” So last September,

after the original mixes for Shade were done, Calhoun compared them to the sounds on Vivid, Time’s Up, and Stain and estimated that about 30 percent of the new ma-terial needed more work. “We were onto something before we stopped that process.” So, according to the drummer, sat least at the time of our interview, Shade was “not nailed,” and, “doesn’t sound amazing.”

When we asked if he planned to go back into the studio and recut drum tracks, Calhoun replied, “I’m not sure yet. I may not do any of them. The performance is fantastic. I would not want to change it. If I play anything over, I’m going to probably play verbatim what I did [in the first place]. In the writing and the demoing process, I felt like the microphone setup that I had was going to work for the music. But we are going to change a few things, and I just think drum-wise I can do a better job, sonically. I’m leaning towards a few things maybe being recut with a different microphone setup.”

After expressing concerns to his bandmates, Calhoun says, “They understand what I’m talking about. They get it. It’s not a case of not cutting the drums properly. My case that I wanted to present to them was, ‘Guys, go back and listen to the other music.’” It meant a lot to Calhoun that his bandmates asked themselves the same question he did: What is Living Colour’s sound today — right now? While Calhoun’s scrutiny of Shade is not entirely about how he sounds, he pointed out that the presentation of his drums is going to affect the record. And he wants to be happy with the finished product. “I know how we walked away from those other recordings,” he says. “We were completely satisfied.”

PAST AS PROLOGUE“The only negative comments we received from Collideøscope, mostly, and The Chair In The Doorway, from our hardcore fans — they loved the record, they loved the tunes, but they felt like [they] didn’t sound like the other records. And they’re right. Those two records were cut under interesting circumstances, between label and management and time, and we didn’t get a chance to get a handle, in my opinion, on those recordings the way we would have liked to, which is why I’m making a stink about it now, because I just think it’s important to have that umbilical cord there.”

While he feels 2003’s Collideøscope and 2009’s The Chair In The Doorway are great albums, Calhoun laments the fact that the recording processes didn’t yield results that sounded like earlier Living Colour albums. For Calhoun, those albums — recorded when the band reunited after years of inactivity — represent a period in which Living Colour was finding itself again, musically.

“That’s also when the band got back together,” he explains, “so there were other issues there, too. But now that we’re clear and we’ve been working and we’re touring, we’re playing the music. I have to ask the guys, ‘Is this it? Is this the bass sound? Is this the guitar sound? Is this the drum sound? Is this the band’s sound for 2015 and ’16? Do we want the songs and the band to sound like this?’”

Hindsight is indeed 20/20, and we now know the answer. “I don’t think we want to abandon what we’ve done in the past,” he says, “what made us unique and well-known.” So for the band’s integrity, Living Colour recut Shade. Was it worth the extra effort? You be the judge.


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Living ColourWil Calhoun

Freedom Of Expression

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VerseIF YOU’RE ONLY FAMILIAR WITH WILL Calhoun through his work with Living Colour, you might be surprised to learn he’s actually much more multifaceted. His interests in jazz, world drumming, and electronic percussion, along with his roles as a composer and visual art-ist, add unique perspectives, rhythms, and textures to his varied musical work. Fans of Calhoun’s funk rock drumming will be glad to learn a new studio disc will be coming out soon. We’ll be checking out a bonus track from that disc as well as several from their new live album Vivid 25 — Live At The Paradise.

“Freedom Of Expression”A sneak peek of a track off of Shade, the band’s the forthcoming studio album, shows the unique brand of funk metal for which Living Colour is known. This quick track begins with a blistering snare fill and a funky groove that em-phasizes the ah of 4. He omits the bass drum from the following downbeats to give that syncopation more punch.

“Cult Of Personality”Here’s the song that started it all for Calhoun, and this live recording has all the power of the original. Calhoun’s landmark opening fill hasn’t changed much, though his groove has gained a few extra notes in the past 25 years. It’s little wonder this song established Calhoun as a drumming force.

“Preachin’ Blues (Up Jumped The Devil)”This is one powerful blues tune. Calhoun pounds out quarter-notes on his kick and snare like he’s mad at his drums, then alternately caresses triplets out of his bass drum, giving the groove a deeply funky feel. Slap and tickle, slap and tickle!every other measure.

“Freedom Of Expression”

“Glamour Boys”

GROOVE ANALYSIS By Brad Schlueter

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Cult Of Personality

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Preachin' Blues (Up Jumped The Devil)

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Preachin' Blues (Up Jumped The Devil)

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“Preachin’ Blues (Up Jumped The Devil)”

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Glamour Boys

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Glamour Boys

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WILL CALHOUN

LIVE & LOUD LICKS

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drum! supplement: august 2015: will calhoun

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