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Pink’s Drummer Mark Schulman On Drumming And Success
How is the P!nk Tour going, and what do you think has made her so popular in this country?
There’s a lot of things that would make her popular anywhere, she’s an incredibly high integrity artist that writes about really pertinent things, has an incredible voice…she’s just like a gymnast training to be on the Olympic team, so she’s just this amazing performer, she sings and does all this stuff while she’s doing her gymnastics and aerial ballet. She’s just incredible, her music rocks and she has her own style and voice in the industry. And I think the Australians just really get it, because Australians are smart.
What first got you into drumming?
I was born a drummer. I came out of the womb, and my mother said I used to make drumming noises. Drums chose me, I didn’t choose drums. I saw the Beatles…….I saw John, Paul, George, and I saw Ringo, and I was just transfixed he was the coolest dude I’d ever seen. Then I saw the screaming girls, and I thought ‘I want that’. But then my response was to continue on with the gift and the natural propensity that I had already. I played in my first band when I was nine; I played my first professional gig and got paid $75.00 when I was 13. So while other kids were delivering pizzas and working at McDonalds, I was playing music, playing bar mitzvahs and weddings on the weekends and always understood that it had value. I’ve worked hard to nurture my talent and to be able to put myself in a position where I can express that talent.
How much importance to you place on having a good teacher to help a drummer develop as a player?
My philosophy on technique is that technique is a means to an end; it’s not an ends itself. So if you hear something you want to be able to play you figure out how to develop the technique and hopefully you’ll find a good teacher. A good teacher is basically a good reflection, a good mirror, someone who can tell you and can guide you and show you how you’re doing, and to nurture you along. I grew up playing in bands, I wasn’t much of a technician, I just loved playing so much. I just used to play, play, play, play, play.
And how much practice did you do and do you still practice these days to the same degree?
I was never a guy that practiced 4 hours a day. The most I ever practiced in a day was 3 hours. But you could get me in a recording studio for 18 hours if I’m recording or writing music. So I’ve always seen technique as a means to an end. So I practice something if I need to learn something or if I want to develop a specific goal. Like if I was to say I want to play single strokes at 110 bpm, and then I’ll just work on my finger technique with single strokes to be able to play that quickly.
What made you want to play Gretsch drums and Sabian cymbals?
When Sabian cymbals first came out they sounded just like Zildjian but were cheaper. From there I developed a relationship with the company and got my first endorsement from Sabian in 1988, and I’ve been with them ever since. To me it’s even quainter because it feels like home. But, no one can say this is better than that. Nobody can tell you something sounds better than something else. That’s bullshit. But you know what you like. You know what resonates with you. There are other cymbals I like the sound of but Sabian still resonates with me. It feels like home. I’ve had 4 or 5 drum endorsements but ever since I was a little kid, I loved Gretsch. To me, Gretsch was like the cool American Drum. With some of my heroes Charlie Watts, Tony Williams playing them, I fully loved the sound and Gretsch had a real mystique in the L.A. studio scene in the 70s and 80s. When I did go on sessions and didn’t use my own drums and I rented some, every drum set that came in were Gretsch drums sets. So there was always a mystique associated with Gretsch and they just sound great. I also endorse Vic Firth and Remo – bottom line is I believe in what I play.
Who are some of your favorite drummers and why?
I’m the kind of guy who tries to find what I like in people. I can name 200 drummers that I think are great. My biggest influences when I was a kid was Bobby Colomby from ‘Blood Sweat and Tears’ and Floyd Sneed from ‘Three Dog Night’, Ringo and Buddy Rich. Then growing up I started to get into Tony Williams, Dave Weckl, Jeff Porcaro – profound influences, Jack Dejohnette, Ian Paice huge huge influence, later on John Bonham, the list goes on and on and on, and now that drummer from the sugars is ridiculous. Love Kenny Aronoff’s playing. I also love David Gadibaldi’s Tower Of Power grooves. So I find what I like in everybody.
What are your sources of inspiration?
My mentor, Dr Jim Samuels who coaches me on life skills, and has for many years. Wayne Dyer’s been a big influence, so has Deepak Chopa and Tom Robbins also. Those are some of my life influences. Musical influences, my biggest hero on the planet is Paul McCartney.
What do those you mentioned as life influences help you achieve?
They help me to maximize my potential, and to enjoy life. The more you enjoy life, the greater you are and the better you are to be around. If you really enjoy your life, one of the things you do is you maximize your potential. It’s also how you threat other people. If you treat others really really well you gain from that experience and that changes your brain chemistry as you’re actually doing something for someone else so, a lot of what you create in this wonderful life – is high integrity. In that you realize that we’re all connected. You realize we’re all responsible for each other . We can take responsibility for others and we realize that incredible value. That’s my approach when I’m on stage with a band. It’s what can I do for you, not what can you do for me. I like to be of service, I think that’s really important.
You have worked with some pretty big names in the music business (P!nk, Cher, Velvet Revolver, Foreigner, Stevie Nicks to name but a few ) what attributes do you think are necessary to be a successful session musician?
I consider myself to be a guy who loves recording and I do that well. Be prepared to work on your stuff, listen to what the artist/engineer wants. Give, give, give. A lot of young players have the wrong attitude. They’re thinking what can I get, as opposed to what can I give. Benefit the other person, not yourself. Be a pleasure to work with, that way everything else will take care of itself. The philosophy being, if everyone is taken care of, then I’m taken care of. Just be a pleasure to be with.
Do you think to be a good drummer that it’s imperative that you have an understanding of song composition and melody?
Absolutely – really important. It enriches your drumming and allows you to be a musician and not just a drummer. I regret I didn’t learn more percussion (mallets and other tuned percussion). The greatest drummers are great musicians. They have an understanding of what everyone else in the band is doing.
Name some of your favorite bands and artists
Where do I start. I like Muse, My Chemical Romance, Pink, vocal groups, The Beatles, the list is endless.
How do you go about creating drum parts for a song?
I used to overplay too much. Now my thing is what’s going to make the song feel good. My job first and foremost is to make the song groove. If there’s a complicated bass line or something, I make my drum part simpler. Vice versa, if there’s space, I try to make it sound a bit funkier. If it’s appropriate play some cool licks – don’t be afraid to be yourself. Be yourself, be a great player and put your signature on it.
Do you ever get uninspired, feeling that you’re doing the same things over and over again. If so, what do you do to overcome this?
I play more and more open handed which gives much more power. I concentrate on playing more exact. I feed off the joy of the audience. One of my tricks if I’m getting bored is to look at members of the audience and see how excited they are and I reflect back on when I was a kid and how excited I was seeing my heroes. So, I tap into that energy.
It’s interesting because sometimes you see bands that look really bored, going through the motions. But, there’s almost an obligation on their behalf, don’t’ you think, to give it their all, because people have shelled out their hard earned.
Yeah. If you’re that unhappy do something else. Because to me, we don’t go to work. You don’t work music, you play music. I am a really lucky person. I always tell people that as you are seated on the throne, that makes you the King and the Queen. It’s a position of honour. Every time you sit at that throne treat it like a position of honour. Quit whinging. If you’re not enjoying it, take a break and to get a beer. Shift your attitude. By doing so, you can make some amazing things happen.
Does P!nk give you some freedom to express yourself?
You gotta play for the music. No, I don’t have the freedom to play any old lick – but that would be stupid anyway. I’ve plenty of freedom given the circumstances. As long as I’m playing for the music, then I’ve got plenty. If I start to play for myself again, I’m just being stupid. I’m there to support P!nk. Am I making her job easier? If so, then I’m doing my job. If I play a bunch of fusion licks, then I’m not doing P!nk justice. P!nk gives me love. She calls me Mr Disneyland, because when I come around, she says I make her feel good.
Describe a typical day on tour.
Wake up, brekky, workout, do some writing on my computer, work on music, work on my seminars, sound check, dinner, sit around talking to guys like you, gig, hotel, have a drink, sleep. Start again and say thanks. On spare days I check out places and get as much rest as possible.
Have you had a wonder down Chapel Street?
Yeah, Chapel Streets deadly. The clothes are amazing and the prices are right up there.
Any tips for up and coming drummers?
Make it better, make sure you have joy in everyone of your practice sessions and rehearsals.
What do you enjoy most about Australia?
Oh, every major city on the coast. I love to swim and I’m not trying to blow smoke up your arse, but I reckon Australia’s got the nicest people on the planet.
Mark Schulman In Clinic Monday June 22nd at 7.30pm
Tix available from Revolver Drums 9521 4644 or online at
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