In the latest DrumSpeak, Steve talks about groove and how his jazz background, combined with the music that was popular while he was coming up helped define his sound. There is a lot of great information hereÔÇösoak it up.
Below, the interview with Gadd from Modern Drummer online (July 1, 2005).
MD: I was a freshman at North Texas State in 1972, and my teacher was John Gates, who had been in the Army with you. He told me, ÔÇ£ThereÔÇÖs this guy that nobody knows about named Steve Gadd, and heÔÇÖs something else.ÔÇØ That began my search for your recordings. Chuck MangioneÔÇÖs Alive was the first record I heard you on, and the groove was incredible. Your solos on ÔÇ£High Heal SneakersÔÇØ and ÔÇ£St. ThomasÔÇØ have the clarity of Max Roach, and there is an incredible fluidity and a contemporary slant. Do you recall what you were listening to and practicing at that time?
Steve: That was done right after I moved to New York. I had just gotten out of the Army, and before that I was in school. My main background was listening to guys like Gene Krupa, Buddy Rich, Max Roach, Elvin Jones, Philly Joe Jones, Tony Williams, and Art Blakey. Then I got to New York and started hearing some funk players, so I started to concentrate more on the groove than on the freedom of straight-ahead stuff. One of the first guys I heard that had a really great groove was Rick Marotta.
MD: So he was established before you?
Steve: We both got to New York around the same time. But he grew up with a different backgroundÔÇömore of a backbeat thingÔÇöand he had a hell of a pocket. Still does. So having come from the kind of background I came from and then hearing that groove, I was inspired to technically emulate those jazz guys but to put some of that stuff in a great pocket.
MD: I hear that in your earliest recordings. How did you develop that deep, relaxed pocket?
Steve: I think itÔÇÖs a matter of being aware of it and trying to do it. No matter how ÔÇ£outÔÇØ and over-the-bar whoever youÔÇÖre trying to sound like did it, the challenge is to try and do it in a way where youÔÇÖre paying tribute to what they did but that is understandable in terms of a groove.
MD: Did you have a method for practicing that?
Steve: No, it was just a matter of being in a situation where I had the chance to record and hear it back. ThatÔÇÖs a tremendous education right there, because there are a lot of things you do in the studio that get very creative and exciting, and you think they sound great, but on playback you can tell itÔÇÖs jumbled up and not easy for the listener to understand. So you go back and simplify some things and you find out that itÔÇÖs a lot more understandable when you leave some space. So being in the studio and hearing things back was a good education. And then years later, when they started using clicks, when things got exciting you could tell where you got away from the click. So those were ways of testing yourself and trying to develop the pocket.
MD: Your playing is highly supportive and highly interactive. But thereÔÇÖs also a transparency. Although the playing may be busy, it doesnÔÇÖt create interference.
Steve: When youÔÇÖre playing high-energy music in the studio, a lot of times when the soloist gets busy, everyone gets busy. IÔÇÖve learned that thatÔÇÖs the time to not get busy and just be supportive. When he takes a breath, thatÔÇÖs a better time to play something in terms of being a support player. You have to pick and choose your spots, sort of like filling in the blanks.
MD: I was in the studio once in the early ÔÇÖ80s watching you do a Dave Liebman record called What It Is. I remember the rhythm section putting down a track, and then Dave put a saxophone solo on. The groove was kind of static, but he played on top, behind, and all around the time, and it was a really interesting contrast. Mike Mainieri was producing, and after Dave put his solo on, I remember Mainieri saying that something was missing. You said, ÔÇ£I have an idea.ÔÇØ You went in and made a pass that corresponded to the saxophone solo. Do you remember that?
Steve: I remember working with Dave, but I donÔÇÖt remember that particular session. What condition was I in?
MD: At that time you seemed to be burning the candle at both ends. You were playing sessions all day, and then I remember you playing at MikelÔÇÖs all night. It seemed like an amazingly stimulating but exhausting period.
Steve: Yeah, it was a great period, but it was pretty exhausting. So I donÔÇÖt remember that particular session. How did it come out?
MD: It came out incredible. You did exactly what you were just describing: following the emotional path that he was on, but not talking when he was talking, so to speak.
Steve: IÔÇÖve found over the years that the feel overcomes everything. If you get a good groove happening, that carries it along. If it feels good, thereÔÇÖs not a lot you have to do. You can pick and choose your spots to dynamically respond to whatÔÇÖs going on, but you donÔÇÖt have to technically, constantly challenge yourself to fill in those spaces.
When you play live, itÔÇÖs another ballgame. People can see the excitement, and that helps them put it together with the audio. When you donÔÇÖt have that visual thing, itÔÇÖs better to keep it simple. ItÔÇÖs a lot more understandable.