[charlene]

SF: Since you’re so involved with the studio scene, could you shed some light on the nefarious reputation of studio musicians? The grind aspect of the job?

BK: I can only relate it in terms of what goes on in Toronto. I have a feeling that things are different in other centers. I may be completely wrong, but I think that in L.A. particularly, you have more guys who specialize either in record dates, commercials and films, or concerts. In Toronto, because there aren’t as many recordings, and there isn’t as much activity going on, you have fewer studio musicians, and you have them doing more of a variety of things. I get a chance to do so many different things that I’m seldom bored. When I’m run ragged it’s my own choice. The telephone rings and it’s up to me whether I want to accept the job or not.

SF: Do you have the threat that if you don’t accept the gig, you may not get asked again?

BK: Always! I had five jobs on a Friday, and a very large record producer in Toronto called me for a date on the Friday night. I told him I had a 7:00 AM jingle, and I was pretty solid all the way through the day. His was a 9:00 PM record date. I said, “I don’t think that I would be any good to you. I just don’t think that it would work. Why don’t you call somebody else?” I had done quite a lot of work for him, and that was the last time I heard from him! So, there’s always that. There are enough good guys waiting to jump in on an opportunity. There’s always that fear.

SF: Do you enjoy working on the road?

BK: Working with Gordon is great, but it’s enough. If it was too much more I can see how people could go crazy. I’ve found myself not remembering what State I was in. or what city I was in. I don’t do drugs and I don’t drink. I have an occasional beer. It’s just sometimes you see so many airports, so many airplanes, and so many halls.

SF: Okay, from last Friday afternoon until today, what was your routine?

BK: Friday morning I had a jingle. Friday afternoon I drove to the airport and caught an airplane to Portland, Maine where we worked last night. Woke up this morning, caught an airplane to Saratoga Springs, New York where we’ll work tonight. Tomorrow we fly to Holmdel, New Jersey and work there. After that show we fly home. So, we’ll be home Sunday night, having played in three different States in less than three days. Then we have four days off and we do it again next weekend. Occasionally we’ll work in Las Vegas or Lake Tahoe, and those are a week long. 90% of the jobs we do, we fly by Lear jet. The five of us get in and go. So, some of those small towns we can just fly right in. We don’t have to go through Chicago thirty times a year and get a connecting flight somewhere. We can fly from Toronto right to Kalamazoo, Michigan, for instance. If there’s a landing strip, we can land there. It works fabulously for my schedule.

SF: What kind of music do you listen to at home?

BK: Oh, I listen to a lot of stuff. I have to do it for my work. Professionally, I have to keep up with everything. For my own enjoyment, I love Bad Company, Foreigner, all the way through to the softest music. I really get a kick out of a lot of different stuff.

SF: Are there any drummers that really knock you out?

BK: Oh, lots of them. I like guys who exhibit a lot of taste, who know when to be busy and when not to be. Who know when it’s exciting to hear a single big drum hit once every four bars. Who has the strength and chops to play busy and the brains to know when not to. That’s so important. Carmine Appice is a perfect example of that type of drummer, as was the late John Bonham.

SF: Have you done any teaching?

BK: I taught for 3 or 4 years before I had any technical training. Someone offered me the job, and I thought I wanted to try teaching the way I wanted to be taught, the way I wanted to drum like Dave Clark and Ringo Starr. There’s got to be kids that are excited about the drums and want to do just that. I think there should be somebody to show them how to do that. How to do it properly. You don’t have to play a bossa nova. You don’t have to play a waltz when you’re first starting.

I was teaching beginners and just after beginners. Teaching them to enjoy music probably more than anything else. Showing them how to play along with records and how to have a good time. I did it for 3 or 4 years and I don’t think I lost one student.

First I’d show them how to hold the drum sticks. Then I’d ask, “What records do you like to listen to?” They’d say, “Oh, I love the Rolling Stones.” I’d say, “Okay, bring a Rolling Stones record next time.” We’d sit down and I’d pick out something very simple, where Charlie is playing maybe just on 2 and 4. I’d say, “Now listen! Do you hear the snare drum?” I’d give the kid an idea of what the snare drum sounds like. Then I’d say, “Okay. Now I want you to copy it. Play what Charlie’s playing, just with your one hand. I want you to play just that.” And they’d do it. They’d get into the rhythm of playing it. By just doing that you could see their eyes! T h e y were playing with The Rolling Stones! Now they’re interested.

Then I’d ask, “Do you know what you were playing? Those are quarter-notes. Why are they quarter-notes?” Go to the drum book and say, “You’ve got 4 quarter notes in a bar of 4/4.” They’d look at it and say, “Oh, that’s what he’s doing!” I’d try to sneak a little bit of knowledge while they were having a good time. I’d show them how to hold their sticks properly, and maybe, how Charlie Watts holds his sticks improperly. Show them the difference. Try to get them interested.