Get to know me

How did you first become interested in making music?

Music was in our household in different forms. I recall as a youth patiently waiting for my parents to be done with church choir practice and many Sundays seated in the choir loft. My first drumset started when we purchased a small bass drum and pedal at a garage sale, and then I completed the set by adding Schwan’s plastic ice cream buckets. They were strategically kept in the basement.

How long have you been performing?

While like most participating in the grade school music programs, my instrumental career started in the 5th grade – 40 years ago.

Tell us about a couple of your most memorable performances?

One of my first weeks of the college semester, I was approached by Lance Lehmberg, the chair of the music department at Morningside College, saying that we (jazz band rhythm section) had a trio gig at the National Guard base in Sioux City. Only having participated in the school band setting, I wasn’t sure what I was getting into or what to expect. Eric Riley, the bass player, reassured me with “not to worry, we’ll tell you how fast to go.” That was my first paying gig, and also came back to the college that night with a large meat and cheese tray. I was hooked. Weekly jazz combo gigs at Winnavegas Casino in Sloan, IA, and soon after various dance band jobs taught me so much about playing with others, the styles and improvisation that comes in jazz and so much more. While still in college, I was able to have a “solo scream” with the Sioux City Symphony, and was featured soloist with the Morningside Symphonic Wind Ensemble as Gerald McBoing Boing, the Dr. Seuss story.

Who has the greatest influence on you musically?

Being involved in a variety of styles and events, I’ve taken from many influences. For the individual applied percussion realm, from building “chops” to drumset styles and more, Tommy Igoe and the theories he shares from his father Sonny Igoe are a constant conversation. Jazz legend Roy Haynes passed away recently. He’s the reason I love flat ride cymbals for my drumset playing. I credit Lance Lehmberg for giving me performance opportunities and memories that I carry with me and continue today.

If you had a chance to meet any performer/musician, alive or dead, whom would you choose?

Stanton Moore. I’m still bummed that I was going to spend a weekend learning from him once and the event was cancelled. His knowledge of New Orleans–style drumming and other players is endless.

What are some of your musical accomplishments as an instructor?

All accomplishments I give credit to the students as I could not do anything without them. During my time at Iowa Central, we’ve started the Percussion Ensemble, “Legion of Boom” Drumline, and the Triton Marching Band. We also started the Triton Jazz Festival, which this year will expand to four days of bands coming to town for clinics and performances. We don’t do what we do for ratings or trophies. The best accomplishments occur when former students share where they’ve gone in life, whether careers or family, and especially ways they’ve found to continue playing.

What is the most unusual thing to have happened to you during a show/performance?

Have had lots of strange little things, like breaking a mallet that strikes a member of the audience, to once playing the ending of Great Gate of Kiev, and the button coming off my jacket mid-song and striking a tympani head – almost in time with the piece.

These days, where would we see you playing throughout the year?

On stage at the middle school and Oleson Park Bandshell as I play regularly with the Karl L. King Municipal Band. The last few years I’ve also begun to play “dance jobs” again, picking up a few sub gigs with the Al Welsh Orchestra. Will still pick up an occasional gig when and where they fit into the work/life balance, but I am picky about it. I used to play regularly most weekends, but have backed down for life balance, and my old bones don’t like to cart around drums like I used to.

What has been the hardest lesson to learn when it comes to music and performing?

The harshest critic is often yourself. Even with more than adequate preparation and 100% effort into a performance, mistakes will occur. Most of the time the audience won’t even know they happened. However, you must be able to do a self-evaluation to truly understand and respect the art form.

What do you tell a student who is interested in pursuing a career in music/music education?

I often start by asking what their knowledge and work ethic is. So many people enjoy music, and in wanting to have a career they enjoy think of music. I applaud them for that thought. However, quite often, many will experience “work takes the fun out of it” when working to music as a career. Like many paths, one needs to make a few wrong notes before properly making a chord.