You were involved every step of the way selecting the kits and instruments for this session. What was your thought process like? What did you want to cover?
When this opportunity presented itself, the timing couldn’t have been more perfect. I already had a few ideas and templates in mind so I began to gather my thoughts on the matter. I’ve always wanted to dive into the history of the culture a bit more and lay out my interpretation of all of the styles that I have been exposed to growing up inside of the vibrant music scene of New Orleans. I wanted the kits to reflect certain timeframes in history but also cover some of the modern influences. This looks easy on paper but was no small feat… When you attempt to pour the DNA of a culture into a project like this, it’s a huge undertaking and has to be done with great care, respect and trust. I wanted it to be as authentic as possible and make a great representation of the styles covered. We were lucky to have access to some kits and percussion that span over a few decades, some owned and some borrowed. Big thanks to Ben Jaffe over at Preservation Hall and also Greg Lambousy with the New Orleans Jazz Museum for trusting us with the use of some very rare artifacts.

Why was Esplanade the perfect choice for this session?
When it came down to selecting a suitable recording studio that could handle a project of this magnitude, the first and only place that came to mind was Esplanade. Nestled in the heart of the historic Tremé neighborhood, home to a number of great New Orleans drummers and musicians and where a lot of the music of New Orleans happened, this old church-turned-studio is a special place with great acoustics and top-notch analog gear. We definitely captured the vibe. I had also worked with the house engineer, Misha, on other projects at Esplanade in the past so the home team was well represented. It was great to work with him again and I knew we were in good hands and ears on this project with him pushing the faders. Any excuse I get to work at home in New Orleans is a good one!

To you, what defines a great drum sound and performance?
I think getting a great drum sound and performance has multiple layers to it. You need great gear, a great environment and being a great player is always a plus but in a lot of ways, I believe in New Orleans we can make anything sound good—from cowbells and washboards to empty beer bottles and any piece of metal to add that clink factor to the mix. So it’s all about the chef adding the right ingredients and tweaking as you go. On this project, we put together a great team and had all the ingredients for a comfortable work environment that made it a joy to be creative and inspired… and it didn’t hurt that we had access to some naturally great-sounding gear that was perfect for the project!

“I wanted the kits to reflect certain timeframes in history but also cover some of the modern influences.”

You started music school already at the age of five. How did your interest transition from playing to recording?
Played music in the bands and did a lot of touring. In my early 30s, I started work in the studio as a session player and developed an interest and appreciation for the process. Around that time I started purchasing recording equipment and started my home recording studio. Soon I got so busy recording so my playing had to come second.

Your background covers anything from film scores to pop, rock, jazz and everything in between. Is there any genre or type of project you prefer?
Recording jazz and fusion is my favorite genre. It’s something that I really enjoy to record or mix.

It’s often said that New Orleans music has a certain vibe, style and groove. To you, how does that shine through?
New Orleans music is like a “language” that we all learn here, not only how to speak but how to feel as well. Rich history, culture and tradition that been carried and past on for many decades through music and specificity drumming. It served as a foundation to the most or even all American music.

You have won some of the most prestigious awards and worked with numerous top-tier artists and countless big projects. Looking back on your journey so far, what are some of your personal highlights?
There are many, but working with Dr. John and especially making his last two records. They were the most satisfying for me musically.