My Musical Background

I began playing drums in 1964, at the age of 10. My parents were musicians, (Mom on keyboard/vocals, Dad on drums) and so I grew up in a (jazz) suitcase. Since then, I've always wanted to be a drummer, but when I became interested in writing, I found it useful to also study theory, arranging, composition, piano, saxophone, and trombone, while in high school. My high school band director, (Lima, Ohio) Gene Wollenhaupt, was incredibly patient with me, and helped me learn some technical things about other instruments, so I could write properly for them. Every instrument has physical "quirks" that arrangers should be aware of, so they write playable parts.

I studied piano, arranging, and composition with Don Hurless, in Lima, Ohio, which was one of the highlights of my life. Don is a hugely-talented and positive guy with no mental "blocks" of any kind that I'm aware of. His advice and honest criticism, along with an amazingly tolerant and patient personality, helped me greatly. He is an awesome player. I could take a big band score to his house, and he would sight-read the thing on piano, right on the spot, so I could record it. (for "proof listening") Several colleges (Dayton, Findlay, Bowling Green, Minneapolis, Green Bay) also tolerated me, by playing my often-horrible big band arrangements, and the instant feedback they provided made a huge difference in my learning curve. Reading something in an arranging book is informative, but hearing it live makes a much more lasting impression. Later, I spent a year studying with jazz organist Hal North, in Dayton, Ohio, mostly transcribing and analyzing pieces by Oscar Peterson, one of my major heroes.

In addition to all the school, orchestra, and big band projects, I was an arranger for the Air Force band in Dayton, Ohio, where I got some additional training in the form of college arranging and composition courses, while studying with another Air Force arranger. I then spent 22 years on the road, full-time, as a working musician. Much of that was a combination of the pop music of each era, and the usual assortment of shows. Although not a keyboardist by trade, I understand music, and play enough to do some arranging, write scores and parts, etc. I also use "Finale" on my computer, via a MIDI setup to a keyboard.

Aside from the usual nightclub work, I spent 5 years devoted to casinos in Atlantic City and Las Vegas, and then worked (mostly on cruise ships) playing with "Motown" acts, including Chuck Berry, Little Anthony, Dee Clark, Coasters, Drifters, Ace Cannon, Diamonds, Ink Spots, Platters, Barbara McNair, the Sherrills, and many others. I've been lucky enough to see all of the USA, and have traveled to Aruba, Canada, Europe, Mexico, the Caribbean, India, Thailand, Korea, and Saudi Arabia.

Big bands influenced me a lot, and have always been a part of my thinking. As a drummer, I was naturally influenced by Buddy Rich, whose bands were very strong, and doing a lot of performances I could attend, during my younger years. I like the extremes in texture and dynamics that you can only get with those instruments. Times have changed... I enjoy "gadgets" such as digital keyboards, MIDI, etc., and use them myself, for writing. (Click the PLAY arrow below for a simple funky loop I did in Apple's "Garage Band", for example.)

But... there is no keyboard on the planet that sounds like 15 individuals blowing real air through real horns! And, regardless of how many people you have in a big band, you always have the choice to play with just a trio, or a single instrument, so nothing is lost. When it's done right. there's nothing more exciting to me than a big band. Specifically, I like to write for 4 trumpets, 3 trombones, (including 1 bass trombone) 5 saxes, (2 altos, 2 tenors, and bari) and a rhythm section consisting of piano, bass, and drums. Today, I rarely get to play in a really serious big band, but I did put one together myself, for a one-time concert in 2001, and you can hear some clips from that concert, here. What a blast! Too bad the economy doesn't support bands of that size today.

Here's where I stand on my own playing... (To see my "Drumming since 1964" album, click here.)
Like anyone with similar experience, I have my "moments", and those are what have kept me from selling my drums. I'm getting better, so I figure I'll continue playing until I feel otherwise. I'm a good and appreciative listener too. But, in my opinion, I lack the natural talent that might have helped me be a really top quality, "giant", or "world class" drummer. Whatever I've achieved has been through lots of studying and playing, and not so much from "talent". So, my book shares honest information and observations, but is not about me. I hope it will help some of you, and that's why it's free.

In the past few years, I've decided to be more artistic, and put myself to the test. Playing non-commercial music is extremely gratifying, but financially risky. It's been, as you would expect, "Great and Terrible". Today, I'm playing pop music again, because although the jazz market has nearly evaporated, I would rather play music than do other kinds of work. Since 2000, I've been enjoying the ongoing "Drumming For Life™" project, which is the main focus of this site, and sharing ideas with all of you. I add new resources for you as often as I can. It's also been my pleasure to communicate personally with many of you. Thanks very much for visiting.

- Mike James

My Favorite jazz cat. "Mitzi". - 35,000 air miles and counting...