Contemporary Drums
Pat Mastelotto
Image Credits: Pat Mastelotto © Leonardo Schiavone
May 15, 2017
During O.R.K. Italian tour we were very pleased to meet Pat Mastelotto, the Californian drummer founder of Mr. Mister and present member of King Crimson and Stick Men, among the several projects involving him.
> Ivano Rossato
Even if you never played this genre, are there any jazz artists that you like or that inspired you?
Even if my roots are found in artists such as the Beatles and Jimy Hendrix, in jazz field I’ve ever loved the Weather Report that, to me, are like “The Beatles” in this genre. In fact, the track “Mr. Gone”, which we used to listen to on the tour bus and we used to play during soundchecks, really inspired the name of “Mr. Mister”. Anyway, I always try not to have preconceptions as far as musical genres are concerned, there is good jazz and very bad jazz, good metal and very bad metal.
Even if my roots are found in artists such as the Beatles and Jimy Hendrix, in jazz field I’ve ever loved the Weather Report that, to me, are like “The Beatles” in this genre. In fact, the track “Mr. Gone”, which we used to listen to on the tour bus and we used to play during soundchecks, really inspired the name of “Mr. Mister”. Anyway, I always try not to have preconceptions as far as musical genres are concerned, there is good jazz and very bad jazz, good metal and very bad metal.
Do you prefer to fulfil the leader role in a project, or do you fit better as side man?
I don’t love to be the leader. I love democracy in a group and the cooperation among two or three artists (not more than that, otherwise to make decisions becomes complicated!), is absolutely my working philosophy. During my career, I have learnt that the more experience you have as a leader the more you learn to be a good sideman. I realised it during my project Mastica: the leader must think of everything, decide everything, always speak to press, all the interviews… give me a break!
I don’t love to be the leader. I love democracy in a group and the cooperation among two or three artists (not more than that, otherwise to make decisions becomes complicated!), is absolutely my working philosophy. During my career, I have learnt that the more experience you have as a leader the more you learn to be a good sideman. I realised it during my project Mastica: the leader must think of everything, decide everything, always speak to press, all the interviews… give me a break!
How was it to simultaneously play with three drummers in the recent King Crimson line-up?
It was a Robert Fripp’s crazy idea! Before being a part of the group, I thought he was an artist writing everything and telling you what to play. But it’s not like that: Fripp creates the situation, and then it’s up to you to find a way to get out of it. Gavin (Harrison) and Jeremy (Stacey) are awesome drummers, and after spending a lot of time to exchange emails and videos, we found a way to best integrate by finding each one his own space.
It was a Robert Fripp’s crazy idea! Before being a part of the group, I thought he was an artist writing everything and telling you what to play. But it’s not like that: Fripp creates the situation, and then it’s up to you to find a way to get out of it. Gavin (Harrison) and Jeremy (Stacey) are awesome drummers, and after spending a lot of time to exchange emails and videos, we found a way to best integrate by finding each one his own space.
Can you tell us something about O.R.K., your present project?
It’s a very amusing experience; I met Lorenzo Esposito Farnasari through Lorenzo Feliciati with whom I played about ten years ago. One of the things I most like about this band is that I’m able to distinguish all the instruments very clearly. When I play with the Crimsons as well as with the Stick Men, the sound is very “dense”, while in the O.R.K. the frequencies of the bass played by Colin (Edwin) and of the electric guitar played by Carmelo (Pipitone) do not overlap and everything’s very clear.
It’s a very amusing experience; I met Lorenzo Esposito Farnasari through Lorenzo Feliciati with whom I played about ten years ago. One of the things I most like about this band is that I’m able to distinguish all the instruments very clearly. When I play with the Crimsons as well as with the Stick Men, the sound is very “dense”, while in the O.R.K. the frequencies of the bass played by Colin (Edwin) and of the electric guitar played by Carmelo (Pipitone) do not overlap and everything’s very clear.
Which advice can you give to a young drummer who wants to become a professional musician?
Nowadays it’s not like in the 50’s, 60’s or 70’s anymore; there are a lot of very good musicians and music everywhere. It is therefore very difficult to assert oneself as a professional. My advice is to cultivate music with passion, but also to have a “back up” job.
Nowadays it’s not like in the 50’s, 60’s or 70’s anymore; there are a lot of very good musicians and music everywhere. It is therefore very difficult to assert oneself as a professional. My advice is to cultivate music with passion, but also to have a “back up” job.
After a long career so rich in different experiences what are you still looking in a co-operator?
I look for talented persons, as far as jazz, country, rock etc. are considered. I look for talent, something unique, a “gift”. My aim with the music is not to produce a hit or impress somebody, but to realise something genuine and real. A lot of my cooperations don’t have a lot to do with the musician, but rather with the person, with amusing ourselves and staying well together even when we’re not playing.
I look for talented persons, as far as jazz, country, rock etc. are considered. I look for talent, something unique, a “gift”. My aim with the music is not to produce a hit or impress somebody, but to realise something genuine and real. A lot of my cooperations don’t have a lot to do with the musician, but rather with the person, with amusing ourselves and staying well together even when we’re not playing.
Which is the element you always try to bring in a project?
Something genuine, I try not to have a very rigid agenda about the things to be done, but to take inspiration from the situations that arise. To play the best thing in that specific moment. During the recording, it often happens to me to overdo to impress people, but then I think “Why don’t I simply play the right thing?”
Something genuine, I try not to have a very rigid agenda about the things to be done, but to take inspiration from the situations that arise. To play the best thing in that specific moment. During the recording, it often happens to me to overdo to impress people, but then I think “Why don’t I simply play the right thing?”
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Jazzespresso is a jazz magazine, but also a website, a network, a hub wishing to connect the different souls of the jazz world: American, European, Asian, Australian and African. A multicultural reference point in English, Chinese and Spanish language for the lovers of this music in every Country, who want to be updated about what is happening all around the world… Stay tuned.
Jazzespresso 不只是一個爵士樂雜誌，也是一個能將擁有各種不同精髓的世界爵士樂，包括美洲、歐洲、亞洲、澳洲及非洲各地，互相連結起來的網站及交流站。以中文及英文寫成的內容將是一個新的多元文化交流的參考點，為各地的爵士音樂愛好者提供來自全世界最新的消息。請持續關注！
JazzEspresso 不只是一个爵士乐杂誌，也是一个能将拥有各种不同精髓的世界爵士乐，包括美洲、欧洲、亚洲、澳洲及非洲各地，互相连结起来的网站及交流站。以中文及英文写成的内容将是一个新的多元文化交流的参考点，为各地的爵士音乐爱好者提供来自全世界最新的消息。请持续关注！
Info: info@jazzespresso.com; Advertising / 廣告 / 广告 / Publicidad: adv@jazzespresso.com.
ABOUT US / 關於我們 / 关于我们 / NOSOTROS
Jazzespresso es una revista de jazz y también un sitio web, una red, un centro que desea conectar las diferentes almas del mundo del jazz: americano, europeo, asiático, australiano y africano. Un punto de referencia multicultural en lengua inglesa, china y en castellano para los amantes de esta música en todos los países que quieren estar al tanto de lo que está ocurriendo en todo el mundo. Manténganse informados!
Jazzespresso is a jazz magazine, but also a website, a network, a hub wishing to connect the different souls of the jazz world: American, European, Asian, Australian and African. A multicultural reference point in English, Chinese and Spanish language for the lovers of this music in every Country, who want to be updated about what is happening all around the world… Stay tuned.
Jazzespresso 不只是一個爵士樂雜誌，也是一個能將擁有各種不同精髓的世界爵士樂，包括美洲、歐洲、亞洲、澳洲及非洲各地，互相連結起來的網站及交流站。以中文及英文寫成的內容將是一個新的多元文化交流的參考點，為各地的爵士音樂愛好者提供來自全世界最新的消息。請持續關注！
JazzEspresso 不只是一个爵士乐杂誌，也是一个能将拥有各种不同精髓的世界爵士乐，包括美洲、欧洲、亚洲、澳洲及非洲各地，互相连结起来的网站及交流站。以中文及英文写成的内容将是一个新的多元文化交流的参考点，为各地的爵士音乐爱好者提供来自全世界最新的消息。请持续关注！
Info: info@jazzespresso.com; Advertising / 廣告 / 广告 / Publicidad: adv@jazzespresso.com.
