One broke guitar string, a demolished bass drum batter head, and two intense sets—three hours—of far-reaching, hard-rocking instrumental music down; four more Wednesdays in the Matt Chamberlain May residency at The Mint to go. Last night’s lineup of Chamberlain with Tim Young and Kaveh Rastegar, performing as Company 23, kicked off the month of shows with a high-flyer to the one-yard-line. Game on.

Shooting Rubberbands At The Stars
I went to college with Matt at the University of North Texas in Denton, TX. Although, Matt wasn’t quite “going” to college by the time I got there. He had parted ways with the renowned school of music on reportedly mutual terms and was penetrating the then fertile, writhing loins of the Denton/Dallas original music scene.

Denton was an unlikely hotbed for such creative congress. It was the disdaining, restless, pretty-hot vs. hot-pretty, curious and wildly horny hippy-chick daughter of the preacher—who happened to live in a college town. Musical experimentation and promiscuity were rampant. Good times. Matt’s long-haired, anti-institution ethos and loose, singular style fed off and into the scene seamlessly. Big, graceful strokes, and a fearless, unconventional approach to the drumset and music-making became his signature at an age when many were simply trying to print their names musically.

What worked so well in the hippy-dippy jam world outside of formal music school did not seemingly bode well for a successful career as a professional journeyman musician—a path for which many of us on campus had set course. Matt was an exciting live, band-oriented player. Short of one his deserving bands getting signed (pretty much what happened, actually), it was difficult to see anything past the immediate creative boon and a diet of Ramen and Hi-Top frozen pizzas in his future.

It was impossible to imagine where he is today.

An elite, first-call, A-list studio musician and producer. A Modern Drummer centerfold and a mainstream paradigm shifter—the Keltner of his generation. Sure, it all makes sense now. Now, for many, it’s less apparent that he is as vital and electric a live, pant-seat, jam-bander as ever. Only with shorter hair. And the experience and confidence acquired over one the most impressive active careers in the business.

Good Company
Of the five unique residency shows scheduled, last night’s trio seemed to hold the most promise to bring the rock—Matt is parenthetically listed “Drums, Electronics” on the other dates, suggesting something a bit more esoteric. The Company 23 show simply listed “Drums” in parenthesis next to his name. It was mostly accurate but for a few subtle live loops (one impromptu while Young tended to that string), and the promise of rock was kept.

The compositions were complex and varied, but never gratuitous—mixed meter, abrupt rhythm, morphing form, and poly-polar mood swings all served in deference to musical purpose. A loose, be-bop-y breeze gathered into a full-blown 60s psychedelic-rock cyclone in the time it took Auntie Em to make it to the storm cellar and lock the door behind her. We all know what happens next. The shit gets Technicolor.

Later, a hypnotic ballad foreshadowing Chamberlain’s upcoming duo date with Bill Frisell pulsed around the edges of gorgeous sounding toms and tenor drum, coaxed sweetly with shaker-filled felt mallets. Then, a psycho-surf number that would make both Dick Dale and Miles smile. Two pieces that featured what Chamberlain would refer to as “The Floor-Tom Boys”—three drummers who brought their own floor-toms and crammed hand-scratched odd-meter parts in answer to a last-second Facebook post promising free drinks and admission—placed the percolating percussion section at the center of droning and tripped-out guitar and bass.

Young and Rastegar are monsters, as anyone plugged into the L.A. scene well knows, and have a history with Chamberlain. Still, it was startling to learn that they pulled this thing off with barley a rehearsal. And by “pulled it off” I, of course, mean they nailed it with your momma’s hammer. Unison rhythms were in unison. Interaction was interactive. These compositions demanded a high level of musicianship and these musicians delivered. It didn’t hurt that Chamberlain’s muted drums and cymbals blended perfectly and the front of house sounded better than ever in that room. Or, that a sadly earnest bubble machine manically blew a slender but steady stream of soapy magic toward the ceiling from the bottom left of the stage.

Quadruple Encore
This trio had the weight to play the Baked Potato and the appeal to fill The Roxy. The Mint is actually an ideal blend of both and was a fitting match. The long-standing club is appropriate as a listening room without the static classroom feel that sometimes accompanies your oversize potato and two-drink minimum; it hangs as a rock club with added intimacy. And as it turned out, turn out was just enough to warm the place, but not too much to obstruct a clear view over the mostly-filled tables surrounding the stage. Things thinned a bit for the second set.

As mentioned, every Wednesday in the residency is unique. Check the event flyer for lineups and The Mint for ticketing information.

No promises of broken strings and demolished drum heads to come, but one thing is certain: the drummer will rock.

Contact us.

Special thanks to Leslie DeHaven at Audacity Management.

From Press Release:

One of the most sought after drummers today, Keith Carlock will be hitting the road on a 13-city US clinic tour in April and May of 2012. Keith has been the driving force behind artists such as Steely Dan, James Taylor, Sting, John Mayer, The Blues Brothers, Wayne Krantz, and many others. His distinctive sound and unique approach have set him apart from other players of his generation. Since arriving on the music scene in the late 90s, Keith has topped several reader’s polls including #1 Pop, #1 Fusion and #1 All-Around in the 2009 Modern Drummer Readers’ Polls. Other career highlights include appearances at the 2008 Zildjian Drummers Achievement Award Tribute to Ginger Baker in London and the 2011 Percussive Arts Society International Convention (PASIC).

The 13-city tour commences on April 17th in Los Angeles, CA and finishes May 3rd in Boston, MA. As with other Zildjian clinic tours, each dealer will host a Zildjian Sales Event with special deals and pricing on Zildjian products specifically tailored to the clinic. In addition, Zildjian will run special promotions at the dealer locations as well as contests on Zildjian.com and Facebook. Drummers may win Keith’s new Vic Firth Signature Series Drumsticks, Zildjian Gear, or a Cymbal personally signed by the drummer.

According to John DeChristopher, Zildjian’s Vice President, Artist Relations & Event Marketing Worldwide, “We’re excited to bring Keith out on a US clinic tour. Judging by the positive response from our dealers and drummers, the clinics are sure to be a big success.

Meet & Greet Tuesday, April 17 at Pro Drum, 5pm. Zildjian sale all day! Clinic across the street at Musician’s Union auditorium, 7pm. Free admission, general seating. More info here.

From Press Release:

SAN FRANCISCO, CA- Three time Grammy winner Mickey Hart announces his new studio album and tour. Hart’s new album entitled Mysterium Tremendum, his first in five years, follows the 2007 Grammy award winning Global Drum Project. Mysterium Tremendum is set for release on April 10, 2012.

With Mysterium Tremendum, Hart is pushing the boundaries of what we know as music, creating a genre of his own. “I have always thought of life, the world at large, as music,” says Hart. “This work is a physical representation of that notion. I have combined sonic images of the formation of our universe with sounds drawn from musical instruments. It’s all about the vibrations that make up the infinite universe. In this case, they began as light waves and these light waves are still washing over us. Scientists at Penn State, Lawrence Berkeley Labs, and Meyer Sound have transformed these light waves into sound waves. This band is exploring a new musical topography. These musical excursions transport me to wonderful and strange new places filled with rhythms for a new day. The combination of music of the whole earth and the sounds of the planets, the stars, the events that formed our universe is intoxicating and points toward an awareness of what music is, could be, and where it comes from. ”

For this new work Hart joined with long time Grateful Dead lyricist Robert Hunter to pen the words for these songs. “Hunter is a bold visionary writer who knows where I am going with this music,” says Hart. ” He is indispensable to the weave of this story.”

Fresh off the road from a sold out 19 date tour, The Mickey Hart Band will be back on the road, and “ABOVE THE CLOUDS”, touring in March and April to support the new album.

“The groove is strong and the band is on fire!”, says Hart.

The Mickey Hart Band lineup consists of Widespread Panic bassist Dave Schools, Grammy winning percussionist and longtime bandmate Sikiru Adepoju, Tony Award winning vocalist Crystal Monee Hall, singer Tim Hockenberry, drummer Ian “Inx” Herman, guitarist Gawain Matthews, and keyboardist Ben Yonas. JamBands.com gave the band’s recent tour stop in NYC rave reviews stating that “Mickey Hart is nothing short of a musical genius and it shines through in everything he does. Whether he’s working with George Lucas, NASA, or throwing together a unique group of musicians for a band, its apparent that Mickey isn’t satisfied doing the same old thing…..”

Friday, March 2nd at El Rey, 8pm. More info here.

From Press Release:

You are invited to the 23rd annual Guitar Center Drum Off Grand Finals on Saturday, January 14th, 6:30pm at Club Nokia in Downtown LA. An evening packed with performances by the drumming elite, the show will feature the top five undiscovered drummers in the country + exclusive projects from world-class drummers including Terry Bozzio (Frank Zappa, Missing Persons), Dennis Chambers (Santana, Parliament/Funkadelic), Aaron Spears (Alicia Keys, Usher) featuring Jabo Starks (James Brown), Mike Portnoy (Dream Theater, Avenged Sevenfold), Brooks Wackerman (Bad Religion/Tenacious D) and Ilan Rubin (Angels & Airwaves, Nine Inch Nails).

Hosted by Stephen Perkins (Jane’s Addiction), the evening will also include a special Guitar Center Drum Legend award induction featuring Peter Criss (Kiss) and Terry Bozzio.

We’re very excited about the show and hope you all can make it! For tickets and further info, go here.

This will be the biggest drum event of 2012, don’t miss it!

Revisit our pictorial coverage of last year’s Drum Off Grand Finals.

Hot Poolside Action
Unlike most poolside videos filmed in the San Fernando Valley, the only money shot here was the $8 on Starbucks. And the only fluffing going on was of hair. Good thing. Hollywood Drum recently got Glen Sobel and Jason Sutter–both hot-off summer tours–together by Sutter’s backyard pool, called “action” and let the camera roll.

A Coming Together
Sutter, who previously played for Smashmouth, Chris Cornell, and Foreigner, spent his summer out with seminal 70s glam-rockers, New York Dolls. Sobel was just home from his first tour with another 70s icon, Alice Cooper. Both bands towered early in the era’s music and culture landscape, and continue to cast long shadows of influence. The subterranean, trans-everything basement art-punk of the Dolls, and the subversive, counter-everything theatrical shock-metal of Alice Cooper were archetypes for emerging genres. Urban rock clubs and mid-western arenas would be changed forever. Generation gaps and parental dismay, however, would remain as always.

The connection is more than theoretical. Cooper and the Dolls have teamed for a week-long Halloween Night Of Fear Tour in the UK. Spooky. And Sassy. It was only right that Sutter and Sobel would also team for an hour-long Early Afternoon Of Hot Poolside Discourse in the L.A. Valley. Sassy. And Spooky.

We present the result here. Two busy L.A. rock drummers talking about their summers, drums and drumming, 70s rock n roll, and sharing a candid perspective of life on the road. Have a look. You know you wanna.

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From Press Release:

“I never imagined that the tour would have received the overwhelmingly positive reactions that it did,” says Jason Bonham. “It’s been beyond my wildest dreams to come out represent my family, my father and the music of Led Zeppelin.”

Bonham is talking about the Jason Bonham’s Led Zeppelin Experience concert, which thrilled audiences last year on an acclaimed and successful 38-city trek of North America. After postponing a handful of dates due to vocalist James Dylan falling ill, it will now stop at The Greek Theatre in Los Angeles on Friday, October 14.

Jason Bonham’s Led Zeppelin Experience is a unique trifecta of an over-the-top rock concert featuring the unforgettable blues-rock music of Led Zeppelin, atmospheric video and light displays and the history that Bonham shares with the legendary rock n’ roll band. The show features Jason Bonham on drums, Tony Catania on guitar and theremin, Stephen LeBlanc on keyboards/pedal-steel guitars, Michael Devin on bass and James Dylan on lead vocals.

The band performs 20 iconic Led Zeppelin songs encompassing the band’s albums including their 1969 debut Led Zeppelin (“Your Time Is Gonna Come,” “Babe I’m Gonna Leave You,” “Good Times Bad Times”), 1969’s Led Zeppelin II (“Thank You,” “Lemon Song” and “Moby Dick”); 1970’s Led Zeppelin III (“Since I’ve Been Loving You” and ”Celebration Day”); 1970’s Led Zeppelin IV (“When The Levee Breaks,” “Black Dog,” and “Rock and Roll”); 1973’s Houses Of The Holy (“The Ocean,” “Over The Hills And Far Away”); 1975’s Physical Graffiti (“Kashmir”) and many more Led Zeppelin favorites.

For tickets and additional information, please visit here.

Revisit our coverage of The Groove Remains The Same featuring Jason Bonham.

From Press Release:

The 13th Hollywood Drum Show will be held for two days, October 1 and 2, at Solar Studios in Glendale. The show will feature a showroom with exhibitors ranging from equipment dealers to music instructors, beautiful vintage and custom drums as well as clinics and live performances.

The Hollywood Drum Show is the only event of its kind on the west coast. It’s the one place, in one weekend, to find rare drums, vintage kits, accessories and hardware, hard-to-find parts and memorabilia from manufacturers, dealers and private collectors from across the country. Additionally, some of the finest craftsmen in the industry present the best examples of unique custom drums. There is also a consignment area.

The Hollywood Drum Show is known also for its yearly giveaways of thousands of dollars worth of drums and equipment. This year, top-of-the-line snare drums and gear from George Way Drums, Vaughncraft, Tempus, Ludwig, Drum Workshop, Johnny Craviotto, Mayer Bros., Pro Drum Shop, Symphonic Percussion, JCTPO, REMO, San Francisco Drum Company and Dunnett Classic will be raffled throughout the weekend. Vintage snares, cymbals from Sabian, Zildjian, Paiste and Bosphorus, and Pro Mark sticks will also be given away.

The clinician schedule (subject to change) is:

SATURDAY
Noon: Jason Sutter
2pm: Dave Elitch
4pm: Thomas Lang

SUNDAY
1pm: Frank Capp Trio
4pm: Stanton Moore

Other recording artists, celebrities and other special guests are set to appear as well.

The Hollywood Drum Show was founded in 1997 by Hollywood-based drummer and avid vintage drum collector, Kerry Crutchfield.

For tickets and additional information, please visit here.

Revisit our coverage of the 12th Hollywood Drum Show, and our Q&A with Kerry Crutchfield.

Legend
A rumpled clump of orange and red felt and feathers lay half-covered in clear plastic upon a newly custom-built drum riser in NBC Burbank Studio 11. Celebrities rarely live up to their larger-than-life personas in person, and this seemed no exception. One of rock and roll’s most iconic and illustrious drummers was barely noticeable amidst the buzzing pre-production activity on The Tonight Show set. But it was still early by traditional rock star standards.

On cue, the furry heap magically arose, opened wide manic eyes, took-in the scene around him and slowly muttered, “Aaaaah!…rough night”—instantly assuming the center of attention. Animal had awakened. And I was in the presence of a legend.

A History
Animal, traveling with a certain Miss Piggy (who happens to share a remarkably similar speaking…er, yelling…voice), was on set to sit-in with OK Go on the band’s version of “The Muppet Show Theme” off the just-released The Green Album—featuring classic Muppet songs re-imagined and performed by contemporary artists. His performance would involve dual-drumming duties and obligatory “battle” with founding member Dan Konopka. The two drummers have a history.

It’s unclear exactly how it happened or who challenged whom, but at last year’s Webby Awards show, Animal and “Danimal” became entangled in a no-holds-barred staring contest that concluded with Dan acquiescing to be Animal’s personal roadie for a year. All I can say about that is when I arrived on stage, Animal’s six-piece tequila-sunrise drumset had already been fully set-up and Dan had a very early call time. And, of course, Animal was fast asleep on his riser.

Beat Drums!!!
Shortly after awaking and shaking-off the night before, Animal was behind those drums, stage left of Dan, in full-force and ready for sound check and camera blocking. A real pro. Never having heard the arrangement and without so much as a paradiddle warm-up, he ripped into the song and a solo-spot that was so dense, fast, and precise in execution it left the skeptical in the room scanning for the Pro Tools rig and scrutinizing every blurred stoke for authenticity. But those of us familiar with his dizzying technique knew better. All Dan could do was smile, shake his head and hold on. Hold on and lock in. They sounded seamless together. Unlike that staring contest, this clearly appeared to be all in good fun.

Off The Chain
Animal and his “people” tend to keep a pretty short leash (short and chain-linked) on public appearances and publicity outside of official Muppet business. As far as I can tell, he has only been interviewed once in his career. And that was by Kermit…THE Frog—not exactly objective press. So, we were stunned and thrilled to receive word that Animal had agreed to Hollywood Drum’s request for a backstage video interview. We think the idea of speaking with a drummer, to drummers, about drums appealed to his…sensibilities. Shortly after initial show taping began, Animal sat down with Dan for a chat.

Nuance?
My intial thought after watching the resulting interview—aside from wanting more—was just how fitting Animal’s portrait of a drummer (not simply a monosyllabic rock drummer) is in many ways. There is the energy and physicality to be certain. The off-beat, eccentric side. The sharp and easy-to-laugh humor. The commitment and dedication without taking things too seriously—work is play after all. And most strikingly, the caring, sensitive, open and giving side—the still depth beneath the active surface. Animal is happy to shout out his influences, fondness for women, and proclivity for all things loud, just before demurring to Dan’s news of his soon-arriving baby boy—sentimentally, quietly cooing things like, “Little baby? Awwww…lit-tle boy…awwww…” and granting Dan time-off from his roadie duties.

Then, “Go get drums! Now!!!”

Watch our exclusive video interview with Animal. NOW!!!

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DAN!!!
An email from Dan Wojciechowski tends to have lots of CAPS and exclamation points in it!!! Much like his drumming.

I tend to not be a fan of lots of caps and exclamation points in emails—stylistic affectations that give a sense of manic energy or someone trying too hard. I know Dan (Danski, Wojo, Woj) and, in his case, either attribute is way off. His use of emphasis—both literary and musical—conveys pure and genuine enthusiasm, positivity, generous spirit, good humor, commitment and an energy that is far more accurately described as inspired than manic. Indeed, his personality simply seems too big for conventional letter-case and punctuation. It’s fitting. I read his emails with the same joy they’re written. We recently exchanged a few, leading up to last Saturday’s Peter Frampton (his current boss) concert at the Greek Theatre.

Far Away Land
Wojo graduated from the University of North Texas the year I arrived as a freshman. That was a little bit ago, friends. Among drummers there, his legend was already secured. Two years in the prestigious One O’Clock Lab Band; a stint on snare in the elite, ass-kicking NT drumline; and the throne in some the best local bands of the time. From day one—really until the day I split town years later—I made a point, a cheerfully-kept point, of going to hear him play at every chance.

Some of my earliest recollections of a young Wojo playing are with a homegrown original pop/ska outfit called The Plunge. They played regularly in our funky little college town and the gigs became a ritual. This guy was exciting to watch. A wide, toothy smile belied, or perhaps perfectly complimented, a fierce inner focus and discipline. He sat low behind big drums and high cymbals, and moved fluidly with absolute confidence and deliberation. His playing was consistent, precise, smart, structured, and always deep in the pocket. Everything in its place. Controlled, yes. Soulful, always.

Special Place
To be sure there were a handful of other great drummers around at the time whose playing I love to this day, a few of whom have achieved drum-celebrity status. But I’ve always held a special place for Dan. For me as a college freshman, he was the first drummer near my age and within my musical circle who I could point a finger to and say, “That guy is a pro.” Those other drummers around were great even then, and Dan, certainly, remains a constant student; but he was the first guy to blur the transitional line between working musician and honest-to-goodness pro for me. I knew it was time to step up and I held Dan as an early model for my own transition.

Not surprisingly, Wojo ruined every band he ever quit. Starting with The Plunge. It was a firsthand reminder of the critical, existential even, importance of the drummer in a band. It’s one thing to listen to The Who post-Moon; it’s another to have your favorite night-out ruined. Thanks, Dan.

Hopefully he won’t be ruining Frampton’s outstanding band anytime soon. I suspect not.

A Discovery. A Reunion.
The Greek Theatre is always a joy. Most all outdoor concert venues, as the summer heat of the day relaxes into dusk and the cool of night, are a joy; each with its own unique charms. The Greek’s charm is its particular location, tucked into the lush, secluded Griffith Park hills. Adding to the joy this night was the open-air ride up Vermont Avenue and discovery of free venue-adjacent motorcycle parking. A good start.

There’s a long list of reasons we play drums. Some are uniquely personal; some more generic. Here’s but one reason it’s good to be “the drummer”: You get to play with the rock star and not have to be the rock star. Immediately, as I entered the theatre, I see Woj huddled with John Good and Scott Garrison of Drum Workshop. I’d like to see Frampton try and casually hang out in the lobby before the show. There’s a virtue to that kind of anonymity I think. Anyhow, I hadn’t seen Dan in years. Big hug. Some hanging, some laughs, some catching up, some thanks to John for the beer, and it’s nearing showtime.

Alive!
There would be no support band. For good reason. Frampton played nearly two hours before intermission, and a near hour and a half after. The tour is billed as Frampton Comes Alive! 35, and the complete 1976 chart-busting double-live record comprised most of the first set. Voice box and all. The second set was largely instrumental blues material off his more current releases. It is definitely a compartmentalized structure for a live show, but ya’ know what? Totally worked for me. The old. The new. Deal with it. That the show flowed and ebbed so tidily was a fortunate consequence.

LED screens behind the band projected mostly sentimental images highlighting Frampton’s tenure as rock’s flaxen mane-ed, flared collar-ed poster boy. Otherwise, the stage basically consisted of Frampton’s three Marshall cabs and Fender amp; bass and rhythm rigs; Hammond organ and Rhodes enclosure; and drums. That’s it. Rock and Roll.

Frampton brings great energy, humor, and humanity to the stage. He also brings serious guitar chops. His singing is strong, if a bit weathered. His guitar playing has aged to perfection. Better than ever, I’d venture. In fact, crack journalist that I am, lacking pen and paper I would occasionally text myself a note for later reference; somewhere during the extended solos of the second set I typed: “frmptn a mf’r!!”

Rear Stage
Speaking of…there’s Danski rear stage. Everything I related above, every descriptor and contemplation of the early Dan Wojciechowski may rightfully be copied here, in increased font size, bold, italics, and underlined. Maybe even a fancy font color. His playing elevated an already high-flying band with Rob Arthur on keys, Adam Lester on guitar, and Comes Alive-era bassist, Stanley Sheldon. Dan brings everything to the Frampton band. His big-band conception of composition and voicing; stylistic diversity and authenticity spanning years of studio work, and journeyman gigs ranging from LeAnn Rimes to Olivia Newton-John; smooth brush chops and rudimental acuity; and, notably, a mean blues/rock sensibility honed over a long association with guitar hero Andy Timmons. Dynamic. Musical. Supportive.

One quick additional note. Dan has this thing that I know well, and recognize as pure Dan just as clearly as the features of his face. He has made an art and a signature of the double crash. He’ll intently look up and eyeball a pair of large diameter, high-hanging crash cymbals the split second before sending them exploding, ringing and wobbling in unison. It’s a thing. Makes me smile every time.

Wojowhatski?
This is the perfect band for him; and he the perfect drummer for this band. It was exciting as ever to listen to him play live again these many years later; and personally satisfying to see him getting the reward and recognition he so deserves. Now if Frampton could just get his last name right on stage.

Krugman, Woj & Garrison

So Fine
A little post-show hang, satisfied goodbyes, a quick walk to the moto, and whee!, whee!, whee!, all the way home. A good night. But why is “Black Hole Sun” in my head? It was a Peter Frampton concert, right?! He would have to play that last.

Clearly, this is not a show or drummer review. It is more of a Valentine. An homage to my old friend and one of my still favorite drummers. Great show, Dan. Or better yet: GREAT SHOW, DAN!!!

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From Press Release:

San Jose, Calif., — Enter Music Publishing, publishers of hip drumming magazines online and offline, isn’t just obsessed with selling magazines. The company has a strong commitment to the community and drummers in need.

Last year, Enter Music Publishing, in conjunction with the San Jose Jazz Festival, sponsored Rhythm Night, a benefit for the family of deceased Little Feat drummer, Richie Hayward. The night was a tremendous success with more than 500 drummers and fans attending.

This year, Enter Music Publishing is sponsoring its second annual benefit, DRUM! Night, which promises to be an exciting drumming festival with a diverse lineup of drummers and percussionists. On Friday, August 12, drummers will descend on the San Jose Repertory Theatre in the heart of Silicon Valley to witness an evening of amazing drum clinics and performances by Terry Bozzio (Frank Zappa, Missing Persons, Jeff Beck), Thomas Lang (Spice Girls, Tina Turner, Stork), and Santana’s fiery percussion section: Karl Perazzo & Raul Rekow, with special guest Armando Perraza (formerly of Santana).

The event will actually be kicked off at 4:30 in the afternoon when Street Drum Corps puts on a street concert outside the venue.

The concert also includes a raffle of thousands of dollars in drumming gear. Proceeds will be donated to the Performing Arts Music Program at Lincoln High, a San Jose magnet school. With over 40 course offerings in dance, music and theater arts, more than 900 Lincoln High students of all ability levels study and learn to attain the highest levels of achievement.

“We’re really enthused to be sponsoring this event to assist music education in schools,” said Phil Hood, publisher and co-founder of Enter Music Publishing. “San Jose schools have a great reputation when it comes to the performing arts and we’re dedicated to supporting the arts through events like DRUM! Night.”

Doors will open at 5:00, an hour-and-a-half before show time, allowing
attendees to have their stick grips analyzed and tuned-up by local drum teachers, witness music demos, test new drum gear, and get in on a special autograph session featuring Brian “Brain” Mantia (Guns ’N Roses, Primus), Jimmy DeGrasso (Megadeth, Alice Cooper), and other notable Northern California drumming dignitaries.

Like last year’s Rhythm Night, DRUM! Night will help kick off the 22nd Annual AT&T San Jose Jazz Festival, one of the largest open-air jazz festivals in the world. SJJF closes off the entire downtown area, erects multiple outdoor stages, and draws up to 100,000 music lovers who converge from Friday afternoon to Sunday evening to enjoy jazz, blues, salsa, Latin, R&B, electronica, and many other forms of contemporary music.

For tickets and additional information, please visit here.