Another Brush With Fame

Thursday night, I had the privilege of meeting one of Canada's most successful drummers, Pat Steward, at a clinic hosted by a local music store. Pat's career has spanned many decades, and he has recorded and played with numerous Canadian stars, including Bryan Adams, The Odds and most recently, Matthew Good. I have attached a scan of the ticket that allowed my entrance to the event.

Pat's resume and career is astounding. He recorded drums on Bryan Adams' Reckless album, which achieved Diamond status in Canada (the Diamond Award is equivalent to ten-times Platinum, or 1 million units sold). Very few Canadian artists have achieved such a feat. Also, being the drummer for rock icon Matthew Good, and myself being such a huge fan of his music, it was imperative that I attend this clinic.

I took a few of my pupils along to the clinic, as I felt that they could benefit from watching a real pro do his thing, talk about technique, as well as explain the equipment he was using. I was hoping that my pupils would be blown away, and leave the clinic completely inspired.

We arrived early in order to get the best seats. Nothing is worse than attending a clinic and having your view blocked, thus being unable to see what the clinician is demonstrating. We ended up getting top-choice seats: front row and center.

Pat's clinic began with him saying a few introductory words, but he promptly jumped on the drumset and played to a number of hit recordings of artists he had recorded and toured with. He played with power, finesse, consistency, and his time was impeccable. The beauty and power of his performance was with his minimalist approach to the songs. All too often drummers fall into the pit of playing too many licks, and the beauty of the song becomes muddied. Pat let the power of the songs speak for themselves. This is one of the most valuable lessons every musician should learn. Sadly, many do not learn it soon enough.

The clinic then entered a question period, where Pat then demonstrated numerous aspects of drumming technique, and explained in detail the equipment he was using (which was of course, a plug for the sponsors). This period was light-hearted and informative for all attendees.

Door prizes were awarded, which included a Pearl Firecracker Snare Drum, a Sabian Cymbal, sticks, videos, keychains, and other paraphernalia. A kid who appeared no older than ten won the snare drum, and he was so shocked, his eyes grew to the size of dinner plates. He was so excited by the end of the clinic, he could hardly sit still. It was obvious that this kid could not wait to go home and try out his new prize.

After two hours, the clinic ended, and Pat signed autographs. I'm not one for such mementos, but I do enjoy meeting musicians, shaking their hands, and having a short conversation. I shook his hand, complimented him, and then we talked for about ten minutes. My pupils were beside me, asking questions and listening. Pat talked about some of his recording experiences, and bit about the Vancouver scene. He was very personable, and a kind person. There was something unspoken between us; it was like he knew I was a very capable drummer, who watched his every move like a hawk. I thanked him for the performance, his kindness, and patience, and myself and my pupils left the hall, homeward bound.

My students were absolutely fired up over the clinic. Their parents informed me that they both wanted to play the drums immediately after arriving home. When I heard the news, I was tickled pink. This was exactly what a wanted to happen: I wanted to light a fire in their bellies, exactly the same way it happened to me when I attended my first clinic years ago, hosted by the late Nashville super-drummer, Larrie Londin.

Pat gave a great clinic, and like my pupils, I was inspired as well. Unfortunately, it was too late for me to pick up my sticks after I arrived home. I believe that this summer, I will make time to hit the woodshed and work on a few techniques that would benefit my playing.