It's a pleasure to meet up again with David F. Lamer, master of the mordent and the sixteenth note. Known for his constant appearances in the band on the TV show "Lo + Plus," this drummer is especially well known to us at ISP for his past collaborations, the quality of his playing and his long experience in live and studio work for many years now.
We appreciate you being here today at ISP Música to share with all our readers, in your own words, your good judgment and know-how when you sit down behind the percussion artillery that usually accompanies you.
The interview
Dear David, sometimes I find this question repetitive because it's so typical; however, I think it's interesting for those who are starting out, or struggling in this world, and reading us right now, to know the moment when each good music professional first made professional contact with the "trade." So
How did you get started, and when did you realize your passion for music could become your profession?
I started on drums at eight; you know, the kid who has a whim and won't stop nagging, so... there you go, a drum kit!!!!!! The truth is it fell from heaven; it was a Christmas present, for the reason I just mentioned. The bug kept biting and I kept adding pieces (that I got for my birthday or the following Christmas), and I soaked up every drummer who appeared on TV. It was almost unhealthy for a kid. I didn't want toys, I only wanted drums, hardware, cymbals, etc... As for thinking this could become something that would pay off in the future, it was never really a plan, but rather a circumstance that came about over the years. Today I'm convinced I don't want to do anything other than play drums.
What do you think about kit configurations? What are the advantages of having a large kit (in number of pieces), and why do you use one?
For me, having a large number of pieces in my kit makes me feel in control of the different nuances and colors each element has. I never play a song the same way as the time before. That's why I have five toms in even sizes (8, 10, 12, 14 and 16 inches), because in every song there's some part that suggests a sound I can find in the kit. Anyway, I often play with three toms, one small and two large, that clearly differ in pitch, for example a 10-inch tom plus a 14 and a 16.
Could you tell us about your approach to enriching a rhythm, making something simple "magical"? What are you looking for when you build your patterns?
When I'm working out the pattern for a song, I don't look only at what the bassist is playing; I follow the melody along with the rest of the musicians. So, for example, I play the kick with the bass and the hi-hat supporting the melody or the accents of the horns, keyboards, guitar, etc. That extends to the whole kit, and that way you create a different atmosphere from the one you'd get by simply playing a basic kick, hi-hat and snare pattern. In short, I like the result and I have a lot more fun playing some songs. But that doesn't mean I make the drums dominate a song; it doesn't sound like a drum solo, you know what I mean?
What has experience taught you, and which areas do you think are most important for improving technique?
Well, you know that over time you smooth out your flaws and get rid of sequences you used to throw in indiscriminately, which made a song repetitive and pointless. Over time, you learn to put fills in at a specific moment rather than sequentially every so many bars. As for improving technique, I think the best and most essential thing is to have good time; to play with a click and know how to keep it without hearing it. Vinnie Colaiuta gave me that advice 11 years ago, on an occasion when I had the pleasure of meeting him, chatting and exchanging opinions during a Sting tour of Spain.
SANTAFE. Could you describe your kit and tell us what you like most about it?
Let's say my instrument is a reflection of what I expect and look for in a drum kit. The cymbals, for example, I think are my favorite part of a kit; I spent a whole afternoon choosing them, looking for the ones that best suited my personality and my way of doing things. Luckily, Bosphorus has cymbals that give you a touch of versatility and that you can use in countless musical situations.
As for Santafe, anything I could say about it would be good. Remember that I used to play DW, and when the Santafe arrived I had my doubts about whether I'd forget the American kit or not. Well... what American kit was I talking about? No, seriously, I don't miss the DW at all. Santafe has done a great job; it's a product of the very highest quality, and it's made in Spain too. The kit I have was made exclusively for me (the color was my request), and they also give you the option of choosing whatever depth you want and the heads that suit you best. Really, today Santafe is one of the best drum kits there is, and that's not just passion talking, OK?
What do you look for in a band, what do you like in the other musicians who play with you: versatility, discipline, virtuosity, a leader to direct it... and what do you think they expect from a drummer?
In a band I look for dynamism and good vibes; I'm not into competitions like who can play more, or who can pull off the hardest stunt... I rule out virtuosity. I prefer discipline and versatility. It's better not to play "out of this world" and know how to do a bit of everything than to be an ace at, say, rock/heavy and never venture beyond it. I suppose the rest of the band expects the same from a drummer: consistency, discipline and versatility.
Musicians and more musicians. Who are your all-time favorite drummers, in Spain and internationally?
In Spain I really like Carlos Carli, Tino di Geraldo, and my friends Jose A. Pereira and Juan Silva. From abroad, Stewart Copeland, Vinnie Colaiuta, Billy Kilson, Marvin Smith, Steve Smith, Terri Lyne Carrington, Horacio Hernández, Oscar Valdés... loads of them!
What are your projects after the summer: studio, live, various...? Where can we see you play live?
Projects? Well, there's a bit of everything, but I'm focusing on the bands I'm in: "Malbicho," rock/fusion, and "Captain T-Bone band," jazz/fusion. This summer I took a bit of a breather and played few live shows.
What would you add for readers who are following your comments right now and want to progress, learn and become great musicians?
The only recommendation I could give them is that if they really want to play drums, they should bear in mind that you don't learn it in a month or in a year; they should be patient, use a click and not try to do the hardest things at first. After that, everything comes, with work and tenacity.
A real pleasure to have you in this special, and thank you for all the good moments your rhythm, feeling and good humor have flooded us with when listening to you. Thanks to Darwin, David Fernández Lamer.
