Matt Chamberlain is certainly in my top 5 drumming influences. He's probably No.1. If he had the chance to listen to some of my recordings, or watch me play live he could at first spank me and then sue me for stealing a ton of his ideas and playing style. I wish I could say, that Elvin Jones or Jack Dejohnette were my major influences, or at least some of the historic figures of drumming, but as I grow older I seem to get more aware of the fact, that it is mostly people with whom you grow up and watch them evolve that play the leading roles in your life-movie. People who have common references with you... People who you can touch, communicate and even compete with them. And this ranges from drumming, to human relationships, to life in general...
You can check out his ideas and playing in his own projects, like Critters Buggin or Floratone, with guitarist Bill Frisell, listen to his solo album and get an idea of what's going on in his head, or listen to the hundreds of records he has contributed in as a session musician. From Brad Mehldau's masterpiece Largo, to David Bowie, Tori Amos, Fiona Apple etc. Here is his not so complete discography list, but you'll get an idea.
I could talk for hours or even give university lectures analyzing what makes him so special... His great taste and sound, his really earthy and laid-back groove, his amazing flow between the song's sections, or the way he translates his emotions to notes. But, his greatest virtue is, that he is a team player. And this is something, that most drummers and musicians constantly forget. Everybody says, that a musician should serve the song and make his fellow musicians feel comfortable, but very few seem to remember that when their actually playing. It's actually quite surreal. Everybody, from graphic designers to musicians, preach the "less is more" concept, even people like Dave Weckl, but nobody seems to put the theory into practice.
His other great virtue is his mentality and the way he approaches his session work. Most of the session musicians out there, especially in Greece, seem to be unable to get over the fact, that their own bands or projects didn't make it and feel that a worldwide music system conspiracy has sentenced them to working with artists they don't want to and playing music they don't really enjoy. Having the chance to make a living as a musician is a blessing. The musical choices are all yours. Working as a session musician and respecting every aspect of your job gives you the financial and psychological freedom to embark on a dozen of different projects, that push the sonic boundaries, without worrying about commercial success, if that's not your goal. In the meantime, you can share your groundbreaking ideas and constantly try to make a rather dull pop song sound interesting. Take it as a challenge. Or if your ego bursts through the ceiling, see it as your mission of educating the world and broadening the average listener's sonic horizons. Either way, it 'll make you enjoy your profession and will save you a lot of shrink money.
Yours, Serafeim
Ps1. Watch how Matt tracks his drum tracks for a rather infamous songwriter. He respects his job and himself so much, that he makes you think, the song was his.
Ps2. Take a look at Matt's various setups and mic placements here.
Ps3. "A successful session musician is like a successful female escort. Working with people, that she just met and giving them a GFE (girlfriend experience)." I just made that up. I actually like it. It's a keeper.
Ps4. Enjoy the following video of Matt's latest project called "Modular", along with Viktor Krauus and Dan Phelps. I can't wait to get my hands on this recording.
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