Episode 43: Live From My Drum Room With Mangicaro! 6-15-21
one. That'll be that'll be a great one. Wow. Okay. great to see. We got a bunch of guys folks. And gals watching already. I was just talking to
Rich. We were testing our our sound and they're having this incredible heatwave out in Southern California. He's in Venice Beach, you know, LA area and he's poor guy, man. I so appreciate him doing this because it's like a 1000° in this house right now and he's he's hanging in there like a trooper. So, I'm not going to take too much time here. I'm going to bring him on and we'll get things started pretty soon.
Again, I want to thank everybody for tuning in. See if there's anything else I want to mention before I move on to Rich. I think that's it. So, thanks for watching. and
without further ado, please give a warm welcome because he's warm to my good friend, Richmond Jairo Hey, everybody. Hey, buddy. How you doing? I'm doing great. I just, I told everybody what's going on out there with the heat and everything. So, thanks again
for doing this, man. It's oh, sure. I'm so glad to do it with you. Yeah, it's a little toasty
here. It's kind of unusual for Santa Monica. We don't doesn't really get that warm here that often, you know, but we got one of those days today. Yeah. So.
yeah. Is it is it because the is the breeze coming off the land versus off the water or is it like one of those things where I think so I think it's coming from the desert. Supposed to be like this throughout the entire week this week. So. Wow. Yeah, we're we're a little we're in a pretty severe drought out here. You know, it's a rough year, I think. Yeah, I hope you get
some rain but it doesn't look like we're going to get any so but yeah, it's the story living area, you know, I know man. I know I remember we we just we we need rain here too. We just got some rain today and it's the sun's out again it's beautiful but it was one of those weird humid days which you remember from living in New York where it's it's just clean and cloudy and then it just sort of opens up and now it's it feels great. I think we're going to get some nice weather. So, So, it's good to see you. Yeah. Setting up the show III
mentioned. you know what? We go back a long ways and and by my recollection, it goes back. We go back to when you started at Pissy around 1987. Yeah, I think we met. Yeah. And and you were with Pisces for 20 years. Yeah, Just it's just you're at you're at DW when I started at Feisty. Yeah. Yeah. We're a
couple of young guys sort of new to the business and a lot of lot of changes since those old days, Those early days of our respective careers, the things we've seen Yeah. Yeah. A lot of change. I know. I know. You know, and and II know I've told you this and I just want to say it because one of the things that really really I appreciate about our friendship all these years that that still stays with me is that when I got the job with Zildjian in 89, I remember seeing you at the NAMM show in Chicago The old Summer Namm show and and it was the the announcement was in the Upbeat Das or one of those you know magazines with the press releases and he came over to the booth and really genuinely, sincerely congratulated me and said like, I'm so happy for you and and and you know III. Remember thinking like, I'm so glad this, you know, we work for competing companies but it's it's we had this friendship for a couple of years before that and and it didn't affect it and it never did. In all the years we worked in the industry, you know, that way. Yeah, me too. You know, we've we've kind of share a lot of the same. I think we share a
lot of the same values and the way we look at the whole thing, you know? Yeah. And what we do, you know, and that's one of the things I think we bonded over. Plus, you know, you're starting a DW in my history with them, you know, it's pretty strong and I really in my career, I owe a lot to John. Good. a lot actually. It's been a dear friend for a long time and and has been really in my corner for a long time, not just in this industry but kind of help me pave my performing career and unbeknownst to him actually in the way the whole thing went down which I could tell you about but it really was. He's
he's a big part of my life and my career. That's great. So does it go I know he I remember when when John and I worked together at Ew, he was a huge fan of Venice and and is that where it all started when you're playing in vent? Yeah well we were we were back in the very early days of when I started with Pissy and we were doing the every year, the PIT and and Musicians Institute in Hollywood would have their graduation ceremony So, yearly, we were at, you know, some of us in the industry were asked to present an award at the graduation. So, I was 1 year both John and I were asked to go up on stage and present an award and we were there just kind of hanging out together and sitting in the audience and Actually, you know, I'm trying to remember if it was at the school, I don't think it was at the school. I think it was actually at the Wilton Theater that year. So, it's in a really nice venue here in LA. So, So, we're doing thing with the school. We're finishing that up
and John goes, what are you doing after this? I said, I don't know. He goes, why don't you come out to dinner and then we'll I want to take you to see my favorite band, Venice and this was probably like got it. Had to be early. 90s. you know, I don't know exactly but it was early 90s and so I went with them and I'm like, who's Venice? You know, I didn't know Scott Craig at the time. Wow. And so, we go see this band at this local club actually right up the street from where I live right now. It's it's a hardware
store now but it used to be this big cavernous club and we walk in there and you know, early 90s that every guy in the band's hair was was way down to here. You know, they look completely different than they do now and They are a staple in Los Angeles. They're local band that I remember at the time that John took me to see them. They had just released their first album and Danny Corso produced it and they had a single on the radio here and it was they were a big deal and it was before they had connected with their following in Europe. So, that's when I met Scott Krieger and so Scotty was already signed a Dw. He did not have a single endorsement so I signed him to pay and I don't know if he was the first yet but he's been with Vic Firth ever since. So, he stayed with
the same companies ever since he started but I brought him on board to Fessy and we became friends and a couple years later, he saw me play with an original project here in Los Angeles. A really good band that was very close to getting a deal and that whole thing and it was it was great and he loved it so much that he got involved as the producer of the next record. So he produced our album after he met and then long story short, Glenn came to him and said, I need a percussionist and Scotty goes, I got a guy. So, that's how
it's all led from John. Good. Really? Yeah. Yeah. Well and and Scott Krieger. Yeah. And
you being a great percussionist and and Glenn being Glenn Frye of the Eagles, right? Yeah. Yeah. Wow. Which he didn't he didn't want to do auditions. He
had he had, you know, didn't want to go through that. He said, I just want you to recommend somebody. So, Scotty Rich mended me and needless to say, I was pretty nervous. The first time I went I mean, I knew all the music but you know, and it I knew what to do but you know, the first day I met Glenn and and Walls was the first rehearsal just walking in and starting rehearsals with no with no meeting beforehand. Yeah. So it doesn't happen like that very often. No, it it
doesn't and wasn't and that wasn't an audition Rich, Right. That was like you you came in. you had the gig. Yeah. Yeah. Wow. Just I mean purely on Scott Craig who's recommendation You know, he stuck his neck out. He knew how
I played and and it just worked out. I ended up staying for 15 years. So, I was, I was with him until he passed away and you yeah. so yeah, it was an amazing gig. That's that's awesome, man. I and II don't
know if a lot of people know that about you that in addition to you know, you're being an icon in the industry and and and I you know, and III don't use that word freely but you are. I mean you work for Pissy for almost 20 years you've worked for guns for I think you said 10 years now. Yes. a guy in the Drum Industry loved by everybody and also like AA. real hot **** musician that that that's I'm a side man but yeah, I mean it's yeah, I've I've always been a musician in my whole entire life like you you know, we all get into this industry, you know, before we got into what we do, we are all players. Yeah. You know, you
you and I have both been playing since we were kids. You know, my first instrument was drum set not percussion but I studied percussion in college, you know. Yeah. but I feel very fortunate, you know, and so when you moved and you grew up in Syracuse and in Syracuse. So, when you moved out to La, I take it. It was like the rest of us. You went out there to be
a player. Yes. And you know, got into the scene and and found your way over to working in the industry. Yeah, yeah. I got I came out here for actually the first time I came out here twice The first time I came out was in 1982. I stayed for a year. I freelance around
town and I have never finished my degree in percussion. I was going to music school from like 75 to 79 and in the middle of all that, I changed curriculums. I was in music education. I didn't really want
to do music teaching. so, I changed the music industry Curriculum lost almost a year of credit. So, I was a little behind in that and then I got an offer to go on the road and it wasn't a national act. It was like a show band. We played Vegas in Atlantic City and all that kind of stuff. So, I
actually left college and didn't get my degree in seventy-nine and went on the road for 5 years. So, I was just touring, playing in hotels, clubs, casinos, that kind of stuff, drum set and and lead vocals and then. I moved to California. to pursue music
and was here for a year doing more than just freelancing and I just kind of got a bug to go back and finish my music degree and that was in Eighty-four 8384 my closest friend from my youth. He's my my oldest friend, drummer and music instructor named Jim Ahearn. He's from Syracuse. He was a music instructor, a music teacher. He was going to school
at Potsdam College in Pottstown, New York with Jim Peters. right? Okay, I've heard it. I know Jim Mayer and I feel like I, yeah, I'm not sure if you met him but you know, Peter Zack. Sure. Yeah. Yeah. Yeah. Because when I was in school at Syracuse University, I was studying with Ernie Musky who was a student of John Beck So, that's where the bulk of my drumming and percussion education came from was Ernie Musky. When I went back to
finish my degree, I went to Potsdam with my friend, Jim Ahern to Crane School of Music and I finished my degree there and my degree there was in performance and I did it in 1 year. I did the junior and the senior recital in 1 year. I just wanted to knock it out.
So, yeah. so so so I did that and then I came back here in it Eighty-six landed back La Got the gig with Fessy in 87. and I got the job with feisty because I was just thinking I need a supplement to play. You know, little did I know I was going to turn into what you and I have had to endure I know it's it's it's funny how that road, you know and no regrets. you know, I'm sure you have no regrets. Yeah, it it it it takes you like you you I mean I think II consider myself. I
think you do too. Pretty fortunate to to have worked for you know good company and. Yeah and and I was going to say in in II, remember when I came out in 85, Steve Edelen was still working for Pisces, right until around I think Eighty-six and there was a guy before you. I was thinking about this today, Jeff Neuhaus. is that his name? Jeff was there. Jeff was there
for a year and I replaced him. Yeah, yeah. Yeah. And yeah but yeah, Edelen was there in the early 80s. He kind of
established the pissy the early roster and and then I came in and stayed the longest. Yeah. After those guys. Yeah. Yeah. I mean, you know, and and rest his soul. Steve was, you know,
he was great. He was definitely a, you know, a groundbreaking artist relations Industry guy. You know, it was. Yeah. But you definitely made an impact when you when you got there. I mean, it was it was I think about like the relationship that you had with Jeff Piro and and still have with Jim Kelton and and you know, all those all those guys out there that are that are just you know like the A players out there, You know, I feel very lucky like you do.
You'll know all these guys, you know, and you know, I still have that small town boy in me. Yeah. You know, so I still preach myself even with all this behind me and all the years that we do this, you know, I still pinch myself knowing these people and you know, growing up in a small town, being a drummer and and listening to the people that influence me and you know, Yeah. so there's never a day that goes by that. I'm not like very thankful. You know, I'm very thankful to pissy because it it it paved a lot of things for me and it was a great great bunch of years great instruments very creative artisans in Switzerland, highly highly skilled, highly creative, still are and very unique. I learned a lot. I
really learned a lot but the artist relations, I had to kind of take that and learn myself Actually, there wasn't a the in a playbook as you well know, it's going to throw you into the fire and go, okay, go do that. you know, Yeah, I mean, I still recall some of the very first endorses that I met, you know, in the first couple of weeks that I was there and to this day, they're dear friends, you know, the first guys that I had to deal with, you know, Alex Klein was one was one of them is a great jazz drummer here in Los Angeles. Mark Herndon from Alabama was one of the very first people that I work with and Rafael Gayle. Yeah. Rafael Gayle was another one who spent a lot of years with Leonard Cohen amongst a lot of other people and then Stewart Copeland actually and Jeff Vaccaro was very early on like I met when I first started, you know, That's a great company, man. That's that's yeah but I know you're right. It's it's like that
those there isn't a playbook. You you and if you when you have the right personality and the right temperament, you excel as you did as you do and and and as you did, I mean, you know, we we shared a lot of those stories when you were doing the job and and dealing with our favorite players on your end, you know, with Steve Gadd and everybody and the the guys who have become such dear friends with you know, speaking of Dear friends from Zeldin, My name is Peter Erskine. He lives only a couple of blocks from me and I gotta call him because we used to get together before the pandemic and there's this great coffee shop right up the street that we would meet at and have coffee and it was just so great to have that, you know, and hit up the street every once in a while. We're walking in the neighborhood to get a burrito or something and I'll see him and what's he walking down the street with a food? You know, and it's just great to have him like right here, you know. Oh, that's awesome. Yeah, you should definitely do that. If I
live if I lived in Santa Monica on the west side, I'd yeah, I'd I'd probably be bothering Peter a lot and you Oh, he's so great. I mean, it's just wonderful and it's got a beautiful studio and he's, you know, you know, he's just a groove to hang with. Yeah. So, he sure is. He sure is. So, so tell me about like because I mean, in addition to to working in the industry, you know, feisty and and gobs you've like written for Drum Head Magazine like all the magazines or most of the major magazines, I think, right. You've you've done interviews and articles and Yeah, I've ridden for I mean all of the major ones. Modern drummer drum head. Drum
scene in Australia. rhythm in the in the UK. Yeah. and that and that came about. you just
that's it's something you've always had a passion for and just you know, because that's not something that's it's not an easy thing for people to to be a good writer. you know, you know what I mean? You've gotta know how to edit yourself and and know how to write and I've seen the stuff you've written and it's it's excellent. I don't know why that writing came natural to me but it did and I think doing what you and I do all these years of working with these great people I've gotten used to having stations and learning and listening. I mean, a big part of our job is listening and so, the interview side of this came kind of natural and then writing. I don't know why I've had an act for that but I have and so yeah, I'm not trying to remember the first magazine. It
was probably modern drummer trying to remember when I first started writing but Yeah. I don't remember how it actually started but then it just mushroom from there. So, you know, it's so funny when I first started doing it, I was using like, you know, pre digital. I was using a tape
recorder with a mic on the table and trying to catch everything they're saying in a coffee shop with noise around you, you know, and and decipher it and come back and listen and transcribe and and make a story out of it. Most of my stuff though was was interview styling. Yeah. So not like. drum magazine with exclamation point is not interview style. So, my stuff was interview style. So, question and answer story built off of that. Yeah.
yeah, yeah, yeah II No offense to drum magazine but II prefer that style too. I prefer the more sort of question and answer interview style and conversation. Yeah. Yeah. And I know that's fun, right? Yeah, I miss it. I mean, it's it's
really fun. It's a lot of work and it's you're not get rich by being a writer for a drum magazine. So, but it's a passion and I love being involved, you know, with it and I kind of took that and ran with it in later years doing my own kind stuff. you know, whether it's a podcast now that I'm doing or web series that I did years ago, I interviewed people and created a series, you know, that kind of stuff. So, kind of took that idea and went with it. You know, I still
do a lot of writing but it's more for you know, corporate stuff. I don't want to forget to mention this because II made a note because it's very important that I want just everybody watching this to know that you are, you are a huge, hugely instrumental in getting Joe Pika Pika inducted into the PAS Hall of Fame and II. Just want to I think on behalf of all the drummers in the world, thank you for that because you know, we all love Joe and and I'm just so thankful you did it while he was still with us and me too. Yeah, yeah. That's probably one of if not, my most proud moments. One of my most proud moments in the all the years that I've been in this industry, you know, and and I was trying to figure out all these years that you and I were involved with PS and why he wasn't selected or even asked. I could not figure that out given who he was. So, that took
3 years for me to make it happen. because he was inducted in 2018 and I started the campaign in 2000 2015 or sixteen in wrote a letter to the to PAS collected testimonials. wrote a Bible. Joe is one of the guys that did a feature article for Drum Head which also was printed in Drum scene in in Australia. So, then, I sent my article and I sent testimonials and and I launched a campaign and he wasn't accepted the first time I didn't understand that and II redid it. I had been told that I have to reapply. So, I reapply the second year he wasn't accepted again and I'm at this point, I really couldn't figure it out. Yeah.
you know, Well, geez. you know, I started calling all the past presidents and saying, let's let's let's get this done before he's not here. God forbid, you know, and then in 2018, he was accepted and I don't know why it took that long, John. It should have taken one stab. Yeah, yeah. You know, I know but but I'm really very happy it happened for him and he was there and you were there, weren't you? Are you there? I didn't make it that year. No, I'm sorry to miss it. It was to see because he and Amo walked up on stage together. So and Amo, we're
talking about Amo Richards, everybody and Amo and Amo and Joe knew each other since since they were about 7 years old. That's how long they grew up together in Connecticut. They started in music together.
They're best friends of their entire lives and was inducted into the hall of fame years prior to. Yeah. to Joe. So, here's Joe's chance to go up on stage with his best friend on together with his family in the audience, It was really something that's I mean, because Amo passed not long after that, right? Maybe a year later. Let's see. I know he, Joe, we lost Joe last year. Amo
died in 2019. so year after that. Yeah. Yeah. Wow. So, yeah, a year later, man. Bravo
buddy. really for for making that happen and and and that like you say that moment of of the two of them together because I mean, I know their history Yeah, they're you know, con man. Yeah. Yeah. yeah. The wrecking crew. Yeah. You know. Yeah, I know. I know. Yeah, it was. I I'm really happy it happened. Yeah, I am. and and
and you're you're kind of understating it because I remember when you we were in touch a number of times during that time and you expressed some frustration, understandably and and and good for you for just like pursuing it and and seeing it through and making it happen. You know, it's yeah, good for PAS for doing it and thanks to Josh at Pas. he was great. He was really helpful and the whole team there in 2018 was it was really a wonderful time. You
know, I'm so happy for Joe and his family. So now his family has that plaque which is great. you know, that's great. Yeah, that's great. know didn't want
to. I didn't want us to like sound like a couple of complaining about how why not? We are We are. You're right. Oh, you know, we're not that old though. No, we're not dead
and we don't look old. We, you know, we get those good Italian genes. So, we're, you know, I think we look exactly the same except for a little salt and Peppa. I think so too. Yeah, I just got some of my salt and pepper cut today. Hoping it would didn't really make a difference. So it's still there. It's yeah, it's too
much. No, but you know, I I've I've done some of these before and people ask like what what's difference or what are some of the changes that you've seen from like when you started and where it is now and I'd I'd love to get your perspective on like how you see what you've seen change and and and without us, both of us sounding like, you know, doomsday negative, you know, doom and gloom guys but well, a lot has changed as you know a lot the over the years the industry has definitely for lack of a better way to put it. Got a little bit more corporate and less individualized family businesses because it really is many family businesses that make up the percussion Industry. Many wonderful, successful family businesses you know. Yeah. You know very well. and they really are a lot
of family businesses and I think that's one of the changes that I've seen over the years is that there's been a melding different companies and blending of companies and more of a corporate and I say corporate not in a negative way but a corporate melding of things and bringing brands together and and joining forces really and probably financially, that's a that's an advantageous thing. As time has gone on, you know, but there's a side of the business that changed with that. There's I think, you know, in the 90s, the 90s were a pretty special time for the music instrument Industry. There was a lot more There's a lot more activities with regards to clinics, and educational events and festivals, Drum festivals, and things and it just seems like those things were a little bit more prevalent than they are now and then jump ahead to to to the last at least the last 10 years, ten to 15 years, social media has kind of taken over the way things are promoted the way people are seen because you know, when we first started, I mean, you and I remember having physical packages in our office promotion packages physical sent in the mail stacks of bios, Cds. Yeah. Okay. cassette tapes where we would have to sift through everything and determine whether or not somebody who could come aboard as an endorsed. You know, I think the protocols are similar as far as how we make a decision to bring somebody on but the criteria and the way they get their visibility has changed You know, we see a lot of influencers now from social media Tick Tock YouTube.
Instagram, Facebook. that have a following that may not have the major credits that that the artist that you and I are used to working with have, you know, I'm not sure if that's a good thing or not a good thing. They definitely influence sales but the criteria is different now, you know, you know, I'm old school. I feel like the people
that you and I have worked with, I'm still and I still work with that have the credits that have the history and have made all these amazing records and have done all these amazing tours. They've influenced musicians all around the world for a very good reason. Obviously, you know, and in turn, helped us sell our brand, right? today. If somebody's got
400 thousand followers on YouTube but no credits on playing with anybody of of any credit or name I'm not sure if it's a good thing or not a good thing. They're helping with sales Mm Mm hmm. They're turning on the product. So that's always a good thing but as far as the foundational side of it, I also think and this is my personal feeling. Yeah, the
whole television. Hollywood industry of competitive music shows. Mm hmm. Changed. It's changed the music industry. and it gave a different impression on what music is. whether it's the voice of American Idol, any of these shows, it gave a different impressions of the of the public and the record by in public of what music is and who's famous and why are they famous? You know, so yeah II agree. I agree with everything you said and and yeah, I mean and and yeah, I mean, I'll just I'll I'll kind of you know, emphasize what you said that there's there you I guess at this point, you can't deny that influencers are promoting brands and helping sell product which is what you and I you know, what we strive to do when we would sign artists as as endorsers of Zildjian or Pissy but I but I think I'm with you in in terms I'm old school.
Absolutely. In terms of like the longevity of an artist and you know what legacy are they? Are they going to leave like if if an artist records a record that wins a Grammy and it's you know, it's it's it's going to carry on for generations potentially. whereas, you know, with all due respect to a YouTube influencer or an Instagram influencer, it's that's a sort of temporary thing. It's a very fast-paced. Yeah. yeah. very Fast-paced, temporary jolt, you know. Yeah. And you just mentioned the Grammy's. I mean that's another
thing that's greatly changed in our industry. Yeah. Yeah. If you watch the Grammy's, there's a lot of things in my feelings as a musician and as a recording artist really changed for the worst. you know. you you know, you don't see a lot of it. You don't see a lot of
the great prestigious awards on prime time, Grammy night anymore. It's become a show. It's become more like a Vegas show and yeah, it's definitely devalued. I think what what it was I do, I think the other thing that has changed on in our industry is the influence of artists products, and signature products specifically on sales and I'm not sure since you've left the industry, whether or not you're seeing this, I've definitely seen this in the past 10 years. whereas, artists, signature products still do help product sales but not to the extent that I think they did when you and I were doing it in the 90s, they help the the overall image of the company's brand and they bring attention to that company and that increases sales but as far as people actually going out and purchasing an instrument that is played by one of your favorite artists that doesn't seem to be as as important as it used to be and that's I just think that's also a nature of the changes of music you know, and individuality and self promotion. Everybody wants
their own thing and create their own thing and there's a lot of different vehicles in order to do that now. So, I've definitely noticed that change. I'm not sure if you've noticed that at all in in years or so. Yeah, I started to see it actually even before I left which has been 8 years now since I've been kind of out of the industry and right. yeah II would agree and I think you're right. I think it's a there's a
generation Now, that is almost sort of anti that, You know, that they they you know, they really don't want it and and I, you know II understand that I get that it's but you know, I don't know what I know with gobs. we make decisions to do that. If the product is a great idea, if the artist has a great idea and it's and it makes sense to blend those two things and if if it comes out as a great great product but a great name behind it, then, it's really an important thing to do and I still think there's a lot of value in it but Yeah, I mean, I know what drumsticks with innovative percussion for 10 years and with drumsticks we didn't see the sales of the signature products quite as high as just a five A or a five D or you know, Yeah. absolutely III agree and I think I think you're right and and having had an experience with Styx as well. It's I think that's a that's a great example of it has to be like a really good product like if if an artist comes up like Dave we designed a drumstick thirty something years ago. That's a great stick
and he also happens to be Dave Weck and Steve Steve stick to is a, you know, very functional versatile stick. Right. And and Steve Gadd so you're right. I think in those cases, you've got guys that continue to sell Peter. Erskine has a great ride. Cymbal drumstick. You know that. Again, very functional and yeah, but II know just just the name alone isn't going to be what it used to be to sell a lot of these products. Yeah. Yeah. So, all
you manufacturers take note if you're getting some free advice from my power, which Mangicaro up here So now, now that and II think I saw something today in the news that you guys have now lifted all your restrictions out in California. Is that is that correct? As of today, as of today, Okay, not too sure how I feel about it. Yeah, I know what you mean. I'm not really ready to go into a restaurant personally yet although I am vaccinated but I still like to do the outside dining and you know, but people are starting to play in clubs. I just got an invite to go see somebody tonight but I Not really that keen on going into a club yet. Although I feel
like, you know, I'm really do believe in the vaccine. is it's very effective. There's a lot of science and a lot of history behind it. I'm not quite ready there. I just, I guess I'm a
little shell Shocked. still just you know, because there's a lot of people in the country that don't believe in the vaccine or won't get it right. So, it's kind of hard to, I mean, if everybody was doing the right thing, it'd be a different thing. You know, know, understand people not getting vaccinated because they might have an allergic allergic thing or a condition that I understand but there's enough science out there to give people the right information, you know. Yeah. Yeah. But we're
doing really well in actually, Los Angeles is doing extremely well with us right now. How about you? Yeah. same here. Same here. We lifted, I think a couple of weeks ago, II think it was just after Memorial weekend. like all the
restrictions were lifted so that it's sort of full capacity again and we went to a restaurant inside for the first time last week. we'd only been doing an occasional outside dining and we actually we're going to sit outside last Tuesday at this little local place and they were threatening thunderstorms So we said let's yeah, let's go inside and and it was cool. It got it got a little crowded and Kelly got a little bit a little uncomfortable. I did too. You know, it's a party right behind us and pretty good-sized party but they're not spacing between the tables that much. Not that
much. Not that much and and and luckily, the overlap time wasn't that much like we were went by the time they got there. we were easily two thirds through our our dinner so we didn't have to spend too much time there and but I was I was asking because II wondered if maybe that was and you kind of answered it. I wondered if
that was going to start to open things up in terms of your playing. You know, I mean, there is gigs now. I mean, there are gigs opening. Baked potato has live shows now but they're reducing the capacity in the club and and that's what doing. They're they're they're
coming back on how many people can go in. So and there are spacing people out in the club but you know what? The big potatoes like I don't know how I don't know. You get you can get six people in that club if you space them out. I know it's it's a it's a little place to begin with. So, yeah. but so but yeah, no, I'm
I'm not that I don't know. I'm not that excited to go play a gig yet. I'm enjoying being in the studio and working on things right now. So, that's
something comes along though. I'll I'll I'll consider it. yeah III. know what you mean. We've we've my band has done a couple of well we did a live and outdoor show last week. We're doing one next week and another one the week after that. and there's talk about maybe in the fall doing some indoor stuff but we're just going to sort of wait and see, you know. Yeah.
Yeah, Not really comfortable right at the moment with it but but I'll say this, Rich, if things continue to go in the direction that they're going in and maybe it's the same for you out there. It's I think by the fall, I would be comfortable. You know, we we just, you know, we just last night had the state of emergency lifted in Massachusetts which is great. It's good. I think me too. I think a few more months and we'll know more. Yeah, things
change so quickly. Yeah. Now and you you told me a while ago that you've been doing some speaking engagements to and that is it. Is that like a colleges or a lot of what he's doing a little bit of that stuff in years ago actually II had a thing called back to backstage and I was doing a little speaking thing for the local schools like I did it Hollywood high and actually it was in it was in conjunction with the Sherry Lansing Foundation, the producer in Hollywood, Sherry, Lansing. She has this give back to the Community Foundation and so I was, I was one of the speakers for that for a little while where I would get guests and come to the school and talk about the music industry. So and I would have all kinds of guests. I had actually one time
I did it with Steve Pica and Joe Baca. we talked about recording with the high school kids at Hollywood High School and I've done things where I've had a couple of film editors go with me and the the entertainment industry a little bit. I didn't do it very long but I did it. I did about, I don't know ten schools or so but I I've been actually in the past 3 years, I've been a little bit busier finishing a web series that I've created and also my record. So, you know, and then just recording and working on number two now.
So, yeah, any idea when that's going to be out That's is that's still a ways off from being being done. I'm halfway through the second album right now and I should be done by the fall. I hope to have it released My first one came out in 2018 and solo that I did. I wrote all the music and played all the keyboards, drums, and percussion and then I have a great music partner named Jonathan Clark who I toured with Glenn Frye. He was Glenn's bassist and background vocalist and he's a brilliant engineer and musician. So, he's my co
writer and he helped me with the first one working on the second one now and the second record is more of a collaboration. We're we're co writing some things and I've got some guest artists on it. So, the bass player for Venice is on one song. and then I'm bringing in some of my old friends from my youth to play on it too. When I toured in that show band thing, The Sax player playing on it. Great and
phenomenal Chromatic heart player that I toured with Venice with named Toc Toc Os dad who lives in Holland. He's playing on it and it it's exciting to have all these collab The record is going to be called dialogues. For that reason and so yeah, I'm that's why I'm in the throws of that right now. So, that's awesome, buddy. That's great. Yeah. You know III, I'm jumping around but II did a while ago and I and I and I want to tell everybody especially you that I was remiss and not having you.
We did this show when Robin Flynn's came out with a book on Jeff. It's about time Jeff Piro and it was a total miss to not have you be part of the the guests on that show and we are going to do a part two and I think Gary is going to be on it and you definitely have to be on it. and and hopefully, Kel will come on to and and I and II saw somewhere. I don't know
if if if I read it or I saw an interview with Jim where he mentioned the last time that he saw Jeff was at a feisty photo shoot with you and his dad and Joe and he's him and there's and there's a picture of the four of you guys that I've seen that's II get choked up I see it. I really do. whenever I see it. and Jim telling the story about that was the last time and he mentions you. So, there's a photo shoot that Rich put together for it was the photographer's name was Jack White who's also Jack White, the drummer who was the drummer for Rick Springfield in the early hit in the early hits. Jack White great drummer from Detroit, Michigan who lives out here now Jack's a fantastic photographer and he was our photographer for quite a while actually, he did a bunch of campaigns for us and that one particular campaign that I was doing was groupings of different people and it was an artist series and that grouping that day was Joe and Amo and Konner and Jeff before, right? Yeah, yeah, Yeah. Yeah. And it was at Jack's house in Hollywood Hills. He had this
beautiful house at the time he was married to Katie Segal. so, he and Katie have this fantastic house with this big, beautiful living room. A great high ceilings. Wonderful for photography. So, we shot that
there and four of them together was so much fun and so much goofing around and you know, Amo was Jeff's godfather and you know, all this silliness and Jim and Jeff were, you know, all his friends and we got this fantastic shot. It's such a beautiful shot and that was the last time that we all saw Jeff Oh, man. Yeah. And you know, i'm III don't mean to bring it up. I just, I just, it was such a touching story when I heard Jim talking about it and and seeing the picture. Yeah, that's yeah And I know you guys were tight. We were we were close. Yeah. Yeah. We had some
fun together, Jeff would Jeff had a way of changing the room when he walked into it Yeah. You know, he had that kind of charisma and he would literally change the room when he walked in. in such a good way, you know, and he was a huge ball buster.
I mean, I'll give you one really great Jeff story. Okay. Yeah. When years at Pissy, when we had our sound room at the booth. Do you remember when we
had live music? Yeah. In fact, let me just tell you, I was working at DW and I was still there in the nam of eighty-nine. I remember this and you guys introduced the signature line that year. I think January and I bumped into him in the hallway and he he remembered me from meeting a couple of times and and I so excited and he goes, I could tell he was like just being polite for a minute because he was, he goes, hey, man, Do you know where the pissy booth is? And I said, come on, I'll take you there. They're in the next
room and I brought him over and anyway, but yes, I do. I don't know. That's great. I didn't know that. Yeah. Yeah. Well, we used to have a sound booth. This this is what when you talk about our industry, this is when AM was incredible. This is when our industry was incredible. Every year, we
would have a sound booth with live performances, you know, at the price and it was my gig to organize those bands and so, you know, 111 AM, I would have like, I mean, incredible like 1 year. we had Carlos Vega and Mike Pena and David Garfield as a trio. Then 1 year, we have Chad Ackerman with Mike Miller and and Doug on bass and and 1 year we had Jeff with his brother Mike on bass and was Lenny playing percussion, No Castro and it was I think it was also David Garfield. It was a trio. There are always trio except for to get to the floor because except for is really funny but so year that I had Jeff there. We had three shows a day or something like that. Three or
four shows a day in this room and that one weekend I'll never forget. We get there. we get there. We're getting ready to get things set up for the first day and it happened to be Super Bowl weekend and you know, the Namm show starts on Thursday so we're getting closer to Sunday and Jeff goes, man he used to call me man. man, where's the TV in the room? I go, what? He goes, where's the TV for the Super Bowl man? Where's the Where's the Tv? I go. I don't think we're going to have that.
He goes, oh man, he was not happy that we weren't playing the Super Bowl in the room, you know, And that same Sunday, Super Bowl Sunday. he comes up to me and and and I would introduce the band in between, you know, the sets and he would always be behind me with a stick poking me going hurry up, you know, and I'm introducing them and just you know, because he used to bust me all the time but at one point before one of the sets, he goes, hey, listen, I got this guy. I want to introduce you to that. I want to play. It's a boy's son. I go, really? And he goes, yeah, he's sixteen. He's about ready to go to Berkeley. You gotta
hear him and we're talking about Abel Boreal Jr. So, this is the first time I've met a junior before he'd gone off to Berkeley and that's when I signed on to feisty when he was that young, I had to go through his dad to do it and we brought him on board at that weekend. yeah III. Remember you guys got him really young because by the time he got out of Berkeley, he was just, he was, you know, instantly like the guy. Oh,
thanks to Jeff. That's how II mean. I never, I knew who Eva Boyle was never really hung with him. I met him through Jeff at the baked potato but never met him. So when I signed his son and we became really close friends and and then a junior became who he became Another quick story. There was a man. It was a yeah. So,
here's years later. Junior's got the gig with Paul McCartney and I got a call from his father and from him and saying, hey, what are you doing this weekend? We're going to go see steps ahead at Usc. You want to go with us and so, I ended up going with just the two of them to see steps ahead at USC at the theater at the college there. I'll never forget that experience. I was like, I'm sitting with these two guys watching. one of my favorite jazz groups. I don't know if
Peter was playing I'm trying to remember I'd have to ask Peter. It could have been Peter. It probably was Peter. I mean, I think Steve Smith might have. he played for a minute with him. That's probably. Yeah.
It's because I remember Steve Smith played him. I don't remember if I think it was pretty sure it was Peter but I'll never forget sitting in that audience. the two of them next to me, you know, and just pinching myself again, you know, small town Syracuse coming out of me going, wow, look at this. So fortunate, you know, it was really great to share that with them, you know, because you know, AA Senior, when he gets excited, he's jumping all over the place. Yeah. You know, but it was like that. it was great. Oh, that's
so cool. Yeah. You know what III was going to say, I'm I'm sure people ask you all the time, you know, and and knowing you that II already know the answer to this but people ask like, you know what it's like to meet guys of that level or or work with them and deal with them and and and I'm sure you It's it's you being you and just and just treating them like regular humans. Do you know what I mean? It's it's like it's it's IIIII. Know what you're saying because I've I've like driven home from gigs at times or or been somewhere and gone like wow I can't I can't believe I just did in the same room with these guys are just this just happened but but it's it's it's funny how when you've done that job, as long as you've been doing it, you you know, you you you immediately can go to that default, right? Way to be versus how you know the wrong way how other people can kind of do it the wrong way. Like I said, I think that you know, I think thank you. I
mean, I feel like yeah they just are they are just people but they're incredibly talented people and there's a place admiration and then there's a place for getting down to business and taking care of things and I happen to be pretty Ocd. so II like to keep things organized and you know, so I think that helps in this kind of a job because as you know, there's a lot of multitasking. There's a lot of balls in the air all the time. Yeah. You have to keep really,
really solid record keeping you. I mean, doing artist relations. you you're dealing with every level of player and and they're all important. You
know, I mean, in in 1 hour of our work, we're going to be talking to, you know, a lot of different people and they could either be on the stage at Madison Square Gardens or in a club and they're all important and what they're doing is important no matter how famous they are. So, you treat everybody with respect because they're making a living doing that, you know, I think that also because you and I became as came into this as drummers and as as professional musicians prior to getting this gig that gave us a foundation of how to do this. I think, I think it helps, you know, but I think also in keeping yourself in check because you know, I just feel very lucky. you know, you know, and III, think like yourself III always felt that you've You know, one of the key things is just always being honest and and never you know, never promising something that you can't do, right? It's it's you and I have known people in the business that you know, it's easy to say yes to everybody, to everything. The
hard thing is to say no but still have that respect and still, you know, have somebody understand why you can't do something for them which can be the case sometimes, you know, and Yeah, Right? Yeah And that's I think that's a difficult part. Yeah. that's the difficult part. Yeah. Because it's not endorsements. It's not what everybody thinks it is. I mean, I wrote that
article from a modern drummer and percussive notes about what is an endorsement, you know, because really an endorsement is an extension of the sales force extension of sales efforts, you know, so. Right. It has to make sense in that regard as well as I mean, it's a two way street, you know, Absolutely. Yeah. No, I think exactly. It's it's gotta be reciprocal. It's gotta be about you know, promoting the product, the brand as well as supporting the artist. It's all
going to go. It can't be a one-way street Just the artist getting whatever they want and you're not getting anything back for it and vice versa. Yeah. We could we could talk a
long time about that stuff but okay. we've been really good about not naming any names I'm not telling any any any incriminating stories. so that's good and we could and would but it's funny. You know, we've we've we've we've shared a lot of the same friendships over the years and a lot of the same people and you know, I've met a lot of the great people that I've met through you as well. You know, some of the Zildjian artists that I didn't get a chance to work with, I met through you and like Alvin Jones, you know. Yeah. you know, those kind of names, you know, I say his name and I just go, I can't even believe that I met him. I can't even believe
it. You know, somebody that's such a to me, one of my biggest influences, you know. Yeah. You know, and that's the part that I know you and II can speak from both of us feel so lucky Yeah, absolutely. Well, we know these guys, you know, and and and could've had just a sliver of something in their career, you know, and you know what? I'm I'm glad you said that Rich because I didn't want to harp on that too much about, you know, what I mentioned, how things you know, when I said, what are your thoughts about how things have changed but like when we got into this in the 35 years ago, you know, a lot of these cats were still around and and it was It really was different. I mean, I don't mean to, you know, I don't mean to say it's not to say that it's better, you know, and it's worse now but I mean, these these guys were roaming the earth and and you know, guys like Jeff and guys like Carlos Vega and and and Elvin Jones and you know and and those moments that we had with them, you know, Tony Williams were just yeah, I'm I'm like you I mean II still now at my at my age II think back and go. I'm
so glad that I was around that I into the industry when I did and I was there for that time, you know, and and and you know, you were, you were close with Fessy. Mm hmm. Is it too much? Yeah. And and me with Armenian and. Yeah. And I think they've
both passed away around the same time. Right? Yeah. Crazy. yeah. Yeah. It's but to have that, you know, to to know that you know, you've got to work closely with you know, the not the founder but but same Armand wasn't the founder of Zildjian but you know, one of the The real pioneers of pissy and and me with Armand and it's you know, those are those are really precious memories that we we get to have and it's really a blessing. No kidding.
Yeah. I mean, you know, a lot of those people are not with us any longer. They started this industry as you all know the icons of the names of the companies. you know, I know. So, it's definitely different now. You know, there's still a lot of really great things happening So, yeah, I think that endorsements are still very valid. and relationships
between the player and the company is still very valid. and important and in some respects even more mutual in some way. There was a lot more flexibility and financial flexibility back in the 90s when we were doing it in the 80s to for companies like ours to promote these artists. There wasn't social media promotion that we were doing a lot of that you know, and these days, it's more of a mutual effort, right? You know what I mean? Yeah. Well said yes.
absolutely. They're there. There really was more of a of a, you know, kind of a like, you know, developing artists sort of program back in the days where where you or I would sign someone that we knew like a L'Oreal who we knew doesn't have a gig yet but man, this guy is a monster. He's going to have a big gig. You know, you
you could do that and I think now there's I don't know, I don't do it anymore but I think think there's more of an like an emphasis on you know, proven commodities one way or another whether it's social media or you know, we're kind of a following do they have and yeah, I think almost back in the day, we were more talent scouts than they are today. Artists, relations people. Yeah, our job was more of a talented guy. You had to kind
of look into the future a little bit and see the potential of somebody before you bring them in and and I know Zildjian was very effective in that feisty was as well and of seeing the future stars, you know. It's the same when I, you know, started working with Danny Carey from Tool or you know, you know, and you with any of the guys, you know, Josh or. Yeah, Yeah. You know, You're right. No, that's
exactly it. I mean, that was II. You know, when I was at DW, same thing. It was it was the idea was artist relations was about that. You know, you had
that you were hired because you know, you're you're supposed to have your finger on the pulse and and have a feel for being a musician, being a drummer yourself, you know, knowing good drummers and. Right. And a lot of times, you know, it's crystal ball work as we know but yeah but like you said but recognizing a standout player and not letting him get away and right and hoping you can make that happen. But I you know II. Just gotta say it. It's it's you're I'm glad that you're still in the business and You know, it's and you represent to me what I remember like our our generation of artist relations guys being, you know, like of that you know, cut from that same cloth so to speak. Thanks, man. and
you know, gums is really very interesting. creative and innovative brand and staying true to the authenticity and the heritage of the instrument which is exciting to me and a great team behind it. You know, Andy Zildjian the head of Saben. has a lot of foresight in this, you know, and he really sees this very, very well and he saw the potential of the brand because he acquired it on over 10 years ago from DW and and it's thriving. We're having fun
creating new things all the time and we have great artists and you know, just like it's always been the past 35 years for me. it's still inspiring to get up every day and and work with the artists that I work with. Whether it's Alex Acuna or Lenny Castro or or or any of our artists, any of our great artists, you know, they're, yeah, I mean, they really are playing the instrument because they love it and they're helping us move the brand forward and that all has not changed and that's all still the same and it still feels like the old days and at times when it comes to that side of it, you know, I'll have an idea for a product. Let's create
this product. Let's work together on it. Let's let's do product development. Let's promote it. Let's come up with a cool marketing thing. because I do all of the video. A lot of
the most of the video creation and editing for the company and and now with the way things have been this past year, we've had to dive into the thing that you've into here which is this kind of promotion. So, that's fun because I'm doing the interviewing now in two different ways. One like you're doing right here with Gumbo called Gobs Live which is a live to Facebook and YouTube with our artists and it's usually a grouping of some kind and we have a fun conversation. Hang out like we're all hanging out and then, we also have a podcast which is an audio show, a radio format style and I've I'm doing that for gumbo and that's you know, you find that on Spotify or Apple podcasts and that's a one on one very in-depth interview style thing which is also made me learn new tricks, right? I'm going to learn, editing and learn. It's because when you listen to a podcast and it's something I didn't know because I'd love podcast and I listen to them.
You don't know how much post goes into that. How much editing time goes into it, hours and hours because if you just took the recording that you do of the conversation and then you just put that up. There was a lot of in there that you shouldn't be putting in there. Not that it's you
know, maybe nasty or whatever. It's there's a lot of you know how conversation can be sure it can be tangents. It can be saying the same thing over and over again or stating your point and then stating it three or four more times So you have to as an editor know how to get it in and and and and make it flow It sounds like a conversation and that's that's something I had to learn. So, that's fun. Yeah, It's hard
work. Yeah. it's it's fun. It's hard work. It's definitely hard work. It's forced me to get
better at editing and learning logic and whether it's logic or you use pro tools or whatever you use out there, It's definitely, it's one of the things I could say to everybody that's watching today is get good at. You're learning a Daw. Get good at learning how to record yourself. Get get get get into it because it's so fun. to learn how to record
yourself, how to engineer, and how to come up with your own product. I can't stress that enough. That's great. That's great advice. That's really great advice. Yeah. Yeah. Well, buddy, I know you're sweating like crazy there. It's I'm
okay. The fans are going. I'm surprised you can't hear these fans. I'm yeah, it's okay. Good. Well, no, it's it's the sound is fine. So, but but III want to thank you for doing this. This is thanks for, you
know, it was a sort of last minute thing and I really appreciate you. you know, working with me on the on on your schedule on this. I appreciate you having me, brother. Absolutely, pal. absolutely. So, so I guess in
closing, I just want to everybody watching. If you can, you can check out Rich on It's the It's Guns live on Facebook Live. That's on YouTube and Facebook or you can check out the podcast. It's called the Percussion Loft and you can find that on Apple Podcast Spotify. It's called percussion Loft. on my website. It's my name. Rich Mangicaro.com.
That's where I post what's coming up and what's happening there when I'll release the next album, that kind of stuff. You know, that's great. Great I'm cool, brother. It's been
great chatting with you. Hang tight for one second. I'll end the stream and then we'll we'll hang in the room for a minute and say goodbye there. Thanks
for having me. Thank you everybody. again for Rich Manka, everybody and I got my the gun that Vic Firth gave me right there. Oh, look at that.
Look at that. Look at it with a hole in it. That's a Richards thing. Okay. II didn't know the story behind that but I that's probably why. Yeah. Okay. So, extremely quickly. that hole
was Amo Richards idea because he said it was too difficult to be a gong going around the back of the gun. So he had us drill the hole right through the the gong itself. So, when he was in the studio and the queue and the red light went on when they're recording soundtracks.
You put the bow in there and just go and that's what that's for. Wow. I didn't know. Okay. And Amo swore that that also helped the gong open up faster. It does open up pretty quick. It's it's it's pretty. I don't have a mallet but it does open up pretty quick. That's why
they have a hole in it. Yeah. Wow. Thanks, pal. That's good. Good information. Alright, thanks Rich. Hang tight for one second everybody. Thanks for watching. Next Tuesday, the
twenty-second, Dave Dessa, 12 PM Eastern Time. I think and thanks again for tuning in today. Thanks to see you. Thanks. See you in a minute. Buh bye.