Kaz Rodriguez is a name within the industry that is definitely worth looking out for. He recently featured on Music Radars list of ‘15 up-and-coming drummers you need to hear’ and drummers like Aaron Spears uses his Fusion Play Along tracks as a part of his drum clinics. He also plays drums for Jessie Ware and has a lot of interesting plans in the pipeline for the near future. I had a lovely chat with Kaz about drumming, musicianship and useful tools for success within the industry.
What got you into drumming?
From a very young age I was always reacting to rhythm, tapping on bath tiles to keeping in time with music played at home or on the radio. Being born with rhythm and having a good ear was the sign to knowing I wanted to pursue a career as a drummer.
Coming from an Indian background, at home was a set of tablas. I learnt how to play because I loved the different sounds but I didn’t enjoy playing them. As I grew older and realised drumsticks existed I instantly felt complete. Michael Jackson and Prince were my two major influences as a kid because my father used to play their records and I would tap along to the music.
Reading drum magazines and collecting posters became a hobby of mine and from research I found the first drum kit I wished to own, the Tama Superstar Kit. At the age of 8 I saw Stewart Copeland playing this kit and I remember thinking, that one day I want to have a career like him and have the same drums.
My school lent me a floor tom that I used as a bass drum and a snare that I attached to a hi-hat clamp. With this setup I went into the city of London and into the little markets to busk. I usually got around twenty pounds a day, which I would save up every month until I eventually had enough to go to the Wembley Drum Centre to buy my very own Tama Superstar Kit, the newer Hybrid version that I was in love with. It was the most amazing feeling!
When I was about sixteen I approached Tama and asked them if they would watch me play to give me feedback on my playing and eventually from my growth I became a Tama artist. This for me was another dream come true!
Thinking back there was definitely a certain energy from that Stewart Copeland poster. Like my girlfriend says, “if you look at things and you are inspired by them, that energy will be given to you.”
When I was at High School I was given a Scholarship to attend Saturday School at CYM, The Centre for Young Musicians in Sounthbank, London. Here I studied orchestral music, mainly snare drum, hence why I am quite a rudimental player today. At that time I was using really heavy ‘Ralph Hardimon’ marching drumsticks, which at first felt incredibly hard to play properly. Those sticks taught me a valuable lesson about control and because of that I still use them today for warming up.
From studying all the Trinity and Rock School books this is where I became exposed to the use of backing tracks. I found it fun and inspiring to play along because it felt like I was playing with an actual band!
As a self-taught drummer I was never told what was right from wrong. I have learnt that whatever feels right and comfortable, is the best way for you to improve your technique. This to me is a huge part my style and my continuous journey.
What about your Play Along Tracks?
As mentioned previously I used to play along to backing tracks for practice but I always felt the music was quite cheesy! I also used to watch Modern Drummer DVD’s and collected every one up to 2006! In comparison the tracks on the DVD were awesome and I used to say to myself that one day I wish to write a similar style track.
About five years ago I was touring with Cirque de Soleil for a year in Germany. I had the privilege to play with many fantastic musicians and my ear became trained in a live set up with all the mesh of notes and sounds. Once the tour was over I was inspired to write so I invested in a twenty-five note keyboard to use for composition and piano. I had no knowledge or experience in composition and piano so like the drums, I figured it out! I knew rhythm and had a good ear so when it came to writing, applying notes to the rhythm came my melodies. It all started to come together after gaining more confidence in writing and the first track I composed was, ‘Seven to the Power of Six’ which surprisingly has done very well.
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All of my tracks have hidden exercises in them where I emphasis certain beats that work with certain rudiments. This also works well with odd time signatures, as people know me for this, it is a theme I create in my tracks. Still today, I cannot explain how it is done. I just feel it. I never count!
I would post short demos of my tracks on social media such as Facebook and Instagram to get feedback from fellow musicians and from my surprise, the music got so much positive following that from this, I decided to release the music on iTunes.
These play along tracks have been written for others to do their own thing, to bring out their inner creativity and confidence. I have seen many different covers and styles of drummers and bands across the globe posting their vibes of my tracks on YouTube. Which, I am truly humbled by. One example is Tony Royster and Aaron Spears. They both play completely differently and it is truly amazing to see how every musician brings their own voice to the tracks. That is the purpose and beauty of these compositions.
I have somehow created a system where I make music that attracts the drummers ear, whether it is because of where I put the hits or what sounds I have used in the texture of the composition that motivates the drummer to play along to them. People love playing along and shedding over them! The percussion you hear in the tracks is there for support when one plays along.
I am overwhelmed by how well received my tracks have been to the music world. I do have plans to create books to support the play along albums.
I used to struggle with stickings because I would always want to land on the right. During my practice time I had to learn how to play open handed which, from this opened up a whole new world for me by changing up the stickings. I then started to learn how to play left handed and that’s one of the reasons why my tracks are in relation to exercises. Showing versatility is very important for any drummer to be able to step out of the box or ones comfort zone and learn to become adaptable.
Aaron Spears is not only an inspiration to me as a drummer and musician but also a very good friend. I would always watch him on Modern Drummer and wished I could get in touch with him. Eventually I gained the confidence to email the track, ‘Seven to the Power of Six’ as a present to him for being such a huge inspiration to me. I then had the privilege of meeting Aaron at the London Drum Show a few years back. When he told me he was going to close his performance with my track I thought I was going to pass out! This was the beginning of our great friendship. He is an amazing individual and spirit to be around. I went on to write another exclusive track, ‘Portal’ for Aaron, which he used in the Fortress Sessions Video for Vic Firth. The track has gone viral on YouTube, which I am chuffed about. This track has also been used in his clinics along with, ‘Seven to the Power of Six’. Aaron has very much lifted me in my career, as a solo artist, composer and drummer and I would like to take this opportunity to thank him as a friend and a fellow musician. One drummer I have much respect for is Leo Taylor and I wish to credit him for the push that he has given me influencing my craft in the world of groove.
How did you get into demoing for Roland?
I was doing a Tama demonstration about two years ago when Jules Stewart, the project manager for Roland happened to be there and saw me play. At the time I was looking for an endorsement because I love using electronics with the drums, but I didn’t know that Jules worked for Roland. It was an amazing coincidence! Since then he has been like a big brother to me, always looked out for my career and me as an individual. Because of what he saw at the demonstration Roland has picked me to be one of their demonstrators. I was fortunate to have been flown out to Japan in 2014 to shoot an advert for their V-Drums alongside a very talented young Japanese girl. The idea behind the advert is to show that no matter what age, background or previous experience you may have you can have fun with drums, it’s an all around experience. This young girl has an amazing gift and is a monster behind the kit! Who knows where she will be in ten years time. It was great to just play along together, no clashing or competing. My collaboration with Roland has been a great experience and I am very much looking forward to continuing my journey with the team. I am ever so grateful for this connection and what it has done for my career.
Tell us about Jessie Ware
Getting the Jessie Ware gig meant a lot to me because I have been a fan of hers for a long time. Before I got the gig I had been doing a couple of unsuccessful auditions. I got a call from Kojo Samuel asking if I was free to work with one of his artists, without telling me whom I would be playing for. When I found out it was Jessie I was amazed! Jessie and the band are all amazing musicians and friends; she is like a big sister and looks out for us all. We are like a big family. There is no stress on stage; we all have got that chemistry. This year we are doing a lot of touring all around the world, which I am very excited about. I actually miss the band when I don’t see them and we always stay in touch if we are not on tour. Every musician is an emotional character, so when you present your emotions and energies on stage your play that extra 150 percent.
One of the best memories from the tour so far was when we were gigging in LA and it was about to turn midnight on my Birthday. The band got introduced earlier than usual and I thought something was fishy… Jessie suddenly started singing Happy Birthday and the whole crowd sang along. A big Birthday cake appeared and I got this amazing feeling that I really felt loved by everybody. It was truly special for me. Those little things really count because you don’t just feel like a session player; you are appreciated as a friend and a musician. That’s what Jessie does. She makes us feel like we are apart of her vision and that is inspiring to me as an artist.
What is your approach to developing as a drummer and what makes you a good drummer according to you?
Practice! I practice a lot, but it is very important you practice the correct way. One needs to be disciplined to be able to develop yourself. Find something that you really want to work on and focus on it. Playing along to a click is very important but equally as important is to play without to build your internal clock. I personally learn the most from playing along to tracks as I can really ‘lay into it!’ Sometimes playing along to emptiness doesn’t inspire anyone. I do also approach things in two ways – technically and musically. A lot of people see me as a ‘chop drummer’ but I don’t play any odd time signatures on a Jessie Ware gig, you have to ‘hold it down’. What makes a good drummer to me is to have a good ear, rather not being a drummer, but being a musician really helps. Whether that means learning different instruments or just having the ear to understand how to play with other musicians. Chris Coleman once said that you have got to understand how the other instrumentalist listens to you when you play, so I try to put myself in that position.
I love to share my knowledge and therefore I teach whenever I find the time. That is why I love doing drum clinics to be given a platform where I can educate all ages on how to practice and develop as a player. Another dream of mine is to one day have the opportunity to present a clinic at the London Drum Show. I believe in education because every teacher has their own voice and their way of teaching. As a teacher myself it is important to never say something is wrong or right if the student feels comfortable with it. Education gives us useful tools to unlock areas where, as a musician, one seeks knowledge, which then enables us to adapt and pass on the information.
I get many people ask me, “What is your style?” because I don’t sound like anything they have heard before. I feel that comes down to the fact that I haven’t ‘played by the book’, I have researched but done what I feel is comfortable and right for me.
Having worked with a variety of artists and styles of music I have learnt along the way. Playing everything from hip-hop, rockabilly and jazz to pop gigs, to writing music with different bands, this has expanded my knowledge in all musical genres.
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What is your advice to young drummers today?
My advice to young drummers today would be to find inspiration in an artist and follow their journey. YouTube is a great tool for this. Check out different drummers and find out what’s new alongside developing yourself. However, finding your own unique sound is the journey and purpose of being known as an individual, rather than sounding like someone else. If for example, you want to be a pop drummer, just believe the day will come. Cultivate your technique, even though you have a gift, remember to be humble to that gift. Always be true to yourself and don’t try to be someone else.
A huge part of what makes me play like I play today is my mother. She passed away many years ago and the last thing she told me was, ‘do what you love and continue to do what you love.” I have stuck by my mother’s words and ever since my career has grown and I have become a greater individual as a player.
Drummers, young and old have a story to tell and that’s what makes them the drummers they are today.
In the near future at drum clinics I wish to share my story and would love to hear other peoples stories if they wish to share theirs to. Pretty much everyone who takes a step onto a stage has a story to tell. You are there as a listener to hear how that musician has become the musician he or she is today. Find your own story and keep searching for it. There will be a time when you feel ready and someone will find you, just like Aaron Spears believed in me.
It is important to strive for not just being a drummer but to be an artist in your own right and to have your own artistic reputation. It is about carrying on a legacy to a younger generation so they can aspire to be whatever they want to be as well. One day I want to feel like I’ve left something and past on knowledge about what Ive done and what I’ve learnt.
Being a session drummer pays your bills, however, if you are meant to be a successful artist, your own creation will pay well also.
What about your future plans?
This year I am collaborating with Annika Nilles. When I approached Annika asking if she would like to do a video together I was amazed that she already knew about me and had bought the album. She has recently been on a Meinl tour where she has been using my tracks. What I admire about Annika is that she writes her own music to. The video is being launched in spring and I am very excited about it, so stay tuned for more information.
I am also working on my originals project called INCA. The name comes from the inca culture in South America which is a free spirited tribal community. I thought it was a lovely name and represents the free minded music of the project. I was in love with the idea of my music being related to something since the music doesn’t have a specific genre. People say it is fusion but anything can be fusion. The project started in 2013 and I am still trying to finish the album, as things have had to be put on hold due to the tour. I will continue the project in my spare time and I am planning to record a video performance of one of the tracks called, ‘Pandora’ of which was co-written with my partner Jessica Crabtree. Many of my tracks feature strings because I have always been drawn to them and orchestral music. Working with Jessica has educated me on string arranging and writing.
I am actually singing in one of the songs but the majority of the album is instrumental. One of the tracks is already out on my YouTube account as a preview for the album called, ‘Trippin’. I am looking forward to writing more material for the project and also playing the tracks live for future drum clinics. It is a great feeling to be able to play your own material with a live band, its not just coming out of a keyboard anymore! One of my future goals is to tour with my own music and play at big festivals.
My future is all about giving more and doing more. You have to live in the moment, which I am doing at the same time as planning for the future. People have showed so much love for my play along tracks and my drumming from all over the world, so I am really looking forward to performing at more drum clinics, travelling and writing.
If you want to check out Kaz’s drumming you can follow his YouTube account on kazroddrums. You will find his second play along album on iTunes under “Fusion Shed Tracks Vol.2”.
Interview by Vicky O’Neon
February 2015
