A technically impeccable musician, David Whitman has nevertheless not forgotten the real purpose of music: to make us feel. On his new album, Oh! Clara!, his first, Whitman reveals the soul behind his instrumental prowess; his drumming beats with the exuberant rhythm of his heart.
Q: How did your debut CD, Oh, Clara!, come about? What was your goal, artistically speaking?
A: As a producer, In the beginning I collaborated with Andrew Neesley to put on a concert of new music at San Diego State University, and right from the start the plan was to take those charts and turn them in to a record. My goal was multi-faceted: on one hand, I wanted to capture the spirit of the live performances that we had all been doing for years (either individually or together, since many of us were long-time collaborators), and on the other hand I set out to be the driving force in the creation of a brand of jazz that was both fresh and new, but super swinging and steeped in the tradition of the past. I had been impressed with Andy’s compositions and arrangements for many years and felt that they deserved to be showcased. I also knew that he and I had a longstanding professional relationship with an excellent rapport, and we knew how to get on the same page with each other.
As a musician my approach to the drums and cymbals stands out, I believe, in contrast to the approach of many jazz drummers on the scene today. I feel that the drums have an equal voice in the music with the other instruments, but I don’t feel that that warrants dominating the musical conversation. Instead, I always set out to support the musicians I am playing with to the best of my ability first and foremost. I want the music to feel good. I would rather the listener walk away from the experience thinking, “man, those charts and solos were great, and that band felt great!” instead of, “wow, that drummer has so much technique and played so many cool complex ideas!” I want the listeners to tap their foot, hum the tunes, and feel compelled to listen again. I want the listener to be emotionally moved when they listen to the record from start to finish. I want the listener to have an experience.
Q: According to your album notes, the record is named after your first child. Did that make the recording process even more special to you, knowing that your wife was pregnant?
A: You know, it really did. I was wondering what my future adult daughter would be thinking and imagining as she listened to the recording that her father made when she was still in the womb. It was a period of time that had such a huge impact on me, as it does for all parents. It colored my outlook on life. I hope that she finds something meaningful in the record, and when the next one and the next one and the next one come out, I wonder if they will be special to her, too.
Q: How did you become interested in playing the drums? Did you receive any formal training?
A: I began playing drums in the fifth grade and knew I wanted to be a drummer from watching the drummers in the bands that my father played with (my father plays guitar and sings in rock and wedding bands). I have been a student of percussion ever since and have always taken my studies very seriously and continue to do so. I am classically-trained symphonic percussionist and have a masters and doctoral degrees in percussion.
As a jazz musician, I studied intensively with Dave King (The Bad Plus). I also studied with late Joe Morello (Dave Brubeck, Marian McPartland, etc). When people hear that I studied with Dave King, they often expect me to be doing something highly experimental or avant-garde. I loved my time with Dave King and will always have a huge respect for him as a teacher and player. My basic concept I bring to the kit, however, ties in more with my studies with Joe. He said to me once, “you should only do what the music is requiring of you, asking of you, at any given moment.” In this regard, I consider myself to be more of a vehicle, avenue, or conduit for the music rather than its creator.
I have also studied with John Wooton (Southern Miss), Jeff Crowell and Ron Keezer (UW-Eau Claire), and Kurt Gartner (Kansas State), Arup Chattopadhyay, and to a lesser extent a host of other great performers. I also learn a great deal from my students and all the music around me. I am the perpetual student.
Q: How did you select the backing musicians on the album?
A: Most of the guys on the record are players that I had a connection with and had played with before, and whose playing stood out in my mind as being especially apt for the album. All the players were picked because I loved how they played. Tom and I both went to UW-Eau Claire and Southern Miss for school, and his sound always stuck with me – he sounds so great! Francisco and Tom work together a lot (Gordon Goodwin, Poncho Sanchez, etc) and they both felt that they would play well together. Everyone on the record is a monster and a great guy to boot. The one guy that I had not worked with much before was Tomek Miernowski. He came in and played on recommendation from Andy, and since Andy wrote the charts I knew he couldn’t be wrong, and I was right! I have always loved Geoffrey Keezer’s piano playing and knew there would be nobody else that would play like him and it is a privilege to play with him and the other fine musicians whenever I have the opportunity.
Q: How long have you been performing music professionally?
A: Although I am a member of the union and have played with a ton of artists, shows, or as a leader for money for many years, it is still hard to pinpoint something like that for me. My first paid gig was at the age of, I think, 12 or 13. The first year I quit my non-music job and supported myself on my music was 2000. So I would be inclined to say 17 years.
Q: Growing up, what artists inspired you the most?
A: John Coltrane, Miles Davis, the Beatles, Lou Reed, Count Basie, Tony Williams, Art Blakey, Elvin Jones, Miles Davis, McCoy Tyner, Count Basie, The Beatles, The Black Crowes, all ’80s and ’90s rap and hip-hop, Dizzy Gillespie, Duke Ellington, Beethoven, Wes Montgomery, Aerosmith, Bill Evans, Dave Holland, Damn Yankees, Eric Clapton, Herbie Hancock, John Coltrane, John Schofield, Larry Young, Thelonious Monk, and so many more. It is just so hard to answer that question. Biggest influencers of all, though, of course, were those people around me. My mother, father, brother, and the local musicians that I saw play on a regular basis, enjoying music with smiles and the company of their friends.
Q: Where were you born? Were you raised in a musical environment?
A: I was born in San Diego, CA but I grew up in Menomonie, WI, which is about an hour east of Minneapolis, MN. Yes, my family was musical. My father and mother were in bands together, and when I would go to bed at night (if it was the best kind of night) I would fall asleep listening to them singing and playing Neil Young or CSN&Y tunes together. I would also come home from school and jam the blues on the piano with my brother, who really sang with a lot of soul.
Q: How would you describe the jazz scene in L.A.?
A: This question comes up a lot from so many people about so many areas and I usually have the same answer. The scene is what you make it. People are and have always been hungry for good music. Young musicians are collaborating and there is a spirit of freshness and creation in music all over the country, and indeed the world. LA has a lot to offer the jazz world with a wide assortment of great bands and players and a diverse community supporting the arts. L.A. is a town built on entertainment. There is definitely a West Coast vibe to the jazz.
Website:
http://www.davidwhitmanmusic.com
