< PreviousModern Drummer November 2021 16 tracks with great respect, but not to do virtual copies. The nearest thing we got to a virtual copy—because there’s not much you can do with it—was “White Room.” It’s perfect. Take it away from what Cream did, and you’ll ruin it. So, that was just a tipping of the hat to the way Ginger Baker played on the song. The parts aren’t difficult, but, boy, he did it so well. You’re talking about a long time ago, and what he came up with for Cream was totally original. You respect that, and you try to do the best job you can. Producer Bob Ezrin took a real hands-on approach to Turning to Crime. Did he serve as a catalyst in choosing any of the album’s material? We all threw a few names into the pot. Ian Gillan had a couple that got shot down right away [laughs]. As the producer, Bob was trying to pick holes in our choices, but in the nicest way. Out of 13 picks, ten came from within the band. Ezrin took the band into a Nashville studio to record Whoosh in 2019—the predecessor to Turning to Crime. I’m curious why you would record an album on this side of the pond, versus your home base in England? Really good large studios are disappearing. In fact, where we recorded our last three albums—the Tracking Room in Nashville— has gone belly up, as well. Trying to find a room that has a great live sound is becoming more and more difficult. We are not studio animals. We do okay, but we’re live musicians, and for us to play correctly, we have to enjoy the sound of our instruments in that room. For me especially, having a good sound acoustically allows me to create and enjoy the sound of my drums. Love’s “7 And 7 Is” was recently released as a single from Turning to Crime, and your drumming is intense. How did that particular selection come about? Roger Glover loves that “7 And 7 Is” track. Roger is still a hippie at heart, so he loves anything that came out of the black-light era. For me, there was an element of “What would Keith Moon do with this?” There are a lot of drums in that song. They never stop. They just keep going. When I was recording it, it was the hardest two minutes I’ve had to do in the last 20 years. Remember, all of these things are done to click tracks now, and the thing is trying to maintain the intensity and make the track feel like it’s live. May we venture down memory lane for a bit? Even as far back as the ‘70s, you had a rich, powerful drum sound—a crisp snare drum, resonant toms, and a killer bass drum. What do you attribute that to? Having good drums helps. Having good drum heads is even better. If you put a crappy head on a really good drum, it will sound like a crappy drum. If you put a good head on a crappy drum, it will sound alright. But if you put two good things together, it will sound great. Tuning is obviously important, but I believe each drummer imparts his own character in the way he strikes the drum. I was doing a drum festival in Paris, and I had the privilege of sitting backstage while Billy Cobham was playing. The kit that was there sounded awful. However, when Billy played that kit, it sounded incredible. So, it’s down to the touch of the drummer, and the tuning that works for them. With the snare drum, I’ve always believed it should be somewhere in the realm of orchestral or Big Band snare drum. It’s got to have some tension to it, and it has to be sharp. I’m not a lover of de-tuned snare drums that sound like they’re 18” deep. You can’t do anything with them. You can hit them, but you can’t play them. To play with the kind of speed and intensity you do, you have to be using more of a wrist approach than forearm. Oh, yeah. Using your forearms is great if you’re playing loud or simple. I don’t think it’s necessary. It’s all about wrists and fingers—it earMusicLegends Coming Soon: • Steve Smith • Billy Cobham • Carmine Appice Gavin Harrison • Cindy Blackman Santana • Charlie Watts Dave Weckl • Carl Palmer • Eric Singer • Alex González Artist Approved Content • Extensive And New In-depth Interviews New Song Transcriptions With Artist Insight • Never Before Seen Photos Buy from your favorite music retailer check out more at moderndrummer.com/legends Presents: Legends Collection TheModern Drummer November 2021 18 has to be, and it always was. You can hit as hard as you want, but a drum will only go so loud regardless of how hard it is hit. You’ve mentioned before that American big-band drummers were an early influence on you. I’ve had the privilege of playing with a couple of big bands over the years—the most notable being the Buddy Rich Band. It’s a totally different discipline. It’s great fun. It’s very difficult, because in rock and roll, blues, or jazz it’s usually about rhythmic repetition. You play to the groove, and make it work for the guys on the top end. Big band music isn’t like that. Every bar is different. There’s a push here, and there’s not a push there. There’s a break here, and there’s not a break there. So, you’re in a totally different mental place about it. You are in “the moment” all the time. It’s wonderful to do, but I don’t believe for a minute I could do it as well as the guys that do it all the time. The ‘70s recordings you did with jazz saxophonist Eddie Harris are priceless. The Island Man and I’ve Tried Everything were, at the time, a departure from the usual Paice palette. Do you remember anything specific from those sessions? Eddie had to explain it to me, because he had all these charts for me, and I don’t read. If Buddy [Rich] didn’t read music, I don’t see why I should [laughs]. You and Deep Purple bassist Roger Glover have been a rhythm section since 1969. To what do you attribute the obvious cohesion between the two of you? We are friends, and any pair of musicians who work together over a long period of time will develop a subconscious understanding of each other. Sometimes, it can be an inflection of where a note is. You might not know what it is, but you know something is going to happen. With good musicians, it’s the ability to react immediately to that feeling. That’s what the really great players have. You can hit them with anything, and they react. At least, it’s like that with me. In 2012, you and your wife, Jacky, created the Sunflower Jam—a nonprofit event dedicated to the treatment of cancer in children. Could you shed some light on that? You’ve given me too much credit. Jacky did this all by herself. Being who I am kicked open a few doors, but it was all her. She kept it going for about seven years, and then we became grandparents. As much as she loves doing charity work, she loves cuddling her grandkids more. In your previous interview with Modern Drummer , you said, “If you like playing drums, do it because it makes you happy. If you go chasing success, you won’t find it. You can’t force it.” Does that still ring true in 2021? It’s as true now as it ever was. Kids today don’t have the same advantages we had coming up. Every pub put up live music two to three days per week. There was always somewhere to play. People wanted bands, so it was easy to get a gig. It’s not that way now, and, as a result, it takes too long to get good being onstage. Sitting in your room and being a Thomas Lang wannabe is one thing. Being on stage and getting it right—that’s a different thing. It’s so much harder now, so you’ve got to want to do it for the love. If something happens and it becomes your life, just say, “Thank you.” Never stop doing it just because you don’t get successful. I mean, “What is success?” If you accept a job, do it for 40 years, and hate every minute of it—I’d consider that not successful. If you find something you like to do, and at the end of the week you say, “It has been a good week.” Then, you are successful. The Paice Platoon Drums Pearl Masters Series: 8x10, 9x12, 9x13, 10x14, and 10x15 toms; 16x16, 16x18 floor toms; 14x26 bass drum with May internal mic system (live), 22" or 24" bass drum (no internal mics for studio sessions). Snare Pearl Ian Paice Signature, 6.5x14. Cymbals Paiste 2002 series: 15" hi-hats (Medium or Sound Edge); 22" and 24" crashes; 22" or 24" ride; 22" China; 8" splash (live). For the studio, add 20" and 22" crashes. Sticks Promark Ian Paice 808L. Drumheads Remo Ambassador batter heads, Remo Power- stroke 3 on bass drum. Other Hardware Pearl Demon Drive double-bass pedal. Cases Hardcase, Protection Racket. Microphones Beyerdynamic, AKG. earMusicBlack Panther Onyx Ralph PetersoN SIGNATURE EDITION LIMITED QUANTITY AVAILABLE mapexdrums.com T he drumming community has lost a titan, the Jazz community has lost a fearless warrior and Mapex has lost the longest running artist endorser in the history of the brand. For more than 35 years, Ralph Peterson Jr. was one of the most distinctive and recognizable drummers in modern jazz performing as a Mapex artist for almost 30 of those 35 years. Ralph Peterson May 20, 1962 — March 1, 2021 Warrior WarriorModern Drummer November 2021 20 Lynn Perko-Truell Punk-Rock Pioneer By Clementine Moss D rumming found Lynn Perko-Truell at a sweaty punk-rock show in the basement of a house in Reno, Nevada, and the spell that was cast transformed her into one of the iconic drummers of the hardcore and grunge scenes of the 1980s and ‘90s. In the all-female Wrecks, and later in the Dicks, she honed her punk rock chops, and in Sister Double Happiness—a hybrid of punk, hard rock, and alternative music that became grunge—she found her niche. Perko-Truell veered into indie pop in 1996, when she formed Imperial Teen with Faith No More keyboardist/multi-instrumentalist Roddy Bottum. Throughout Imperial Teen’s six studio albums, she has perfected a refined pop sensibility on the kit that is elegant and crafted. She also con- tributes songs, vocals, bass, guitar, and keyboards to the band’s catalog. “Lynn is the ultimate combination of finesse, sass, and chic empowerment,” says Bottum. “Her performance is both mesmerizing and uncompro- mising—a reflection of her bold personality.” The epitome of a drummer who knows how to play for the song, Perko-Truell is heavy when required, always tasteful, and her joyful presence on stage is captivating. She was named one of the “Top 100 Drummers of Alternative Rock” by Spin, and her deep connection to the music community has provided her many opportunities to collabo- rate with some of the most renowned artists of her era. When did you fall in love with drumming? It happened accidentally. I was in a record store in Reno, Nevada, and my friend said she was going to sing for this band called the Wrecks. She also asked if I would try out, because their drummer had been grounded. I thought, “Sure. Why not?” She invited me to a punk-rock show in the basement of a house to see a band called 7 Sec- onds. The songs were fast and had great chorus hooks that people sang along to. The lyrics were about emotions and boredom and things they didn’t like in society. I was standing right up front, and I was energized by the power chords and camaraderie in that basement room. I was already a music fan. Led Zeppelin was my favorite band, along with Neil Young, Aerosmith, Rolling Stones, and Cream. So, to be right there with the band—I just loved the energy. When I finally met the girls in the Wrecks, I November 2021 Modern Drummer 21 didn’t have any drums. We pulled in some big, green garbage cans, someone gave me a pair of drumsticks, and I played along to the raw and uncomplicated riffs they had. I understood drums, because I had played classical piano from the second to the tenth grade. I could do different melodies and movements with each hand, so I just had to add two more limbs. Eventually, a friend in the scene took me to Carson City, where I bought my first Ludwig drum kit. I was 16 or 17 at the time. When I got to sit behind an actual kit and play, I loved it. There were no rules, because it was punk rock. I could do anything I wanted, and I didn’t feel like I was doing anything wrong. Being in a band in a small scene playing shows felt like I had taken on a way of life. I’d been waiting for something like that. Can you be more specific about what you were waiting for? At that point, I had been struggling about what to do in my future. I think I was searching. I had this feeling that I didn’t want to be like “regular” people. When I was 15, my mom took me to San Francisco, and we went to a play and experienced these different cultural neighborhoods. That definitely fed my soul. I had been asking myself, “Where are my people?” Back in Reno, with the band and the eclectic scene, I found them. Drumming made my whole world bigger. I dug right in. How did you end up in the Dicks? My next band was in San Francisco when I was around 19. Gary Floyd had an Austin, Texas, hardcore punk-rock band called the Dicks, and when he moved to San Francisco, he auditioned a new lineup. They were more of a blues-based punk-rock band, and I sort of found a niche. They had those fast punk songs, but they also had songs with a different feel. Between the Dicks and Sister Double Happiness, I really started to understand the freedom of drumming and letting go. When you joined Imperial Teen, you played a number of different instruments, and you also developed more of a pop sensibility. Even though Roddy and I had been playing for years in different bands, the original idea for Imperial Teen was to start off from a more young-hearted place—like we didn’t know anything. Also, I was not going to be the main drummer, as we all wanted to tackle different instruments. I wanted to have a bigger hand in songwrit- ing, and I wanted to play guitar and keyboards. And, in the begin- ning of Imperial Teen, we did switch instruments a lot. Roddy has a really good flair for drumming, and there were a lot of songs where I didn’t play drums. But, over the years, it just ended up that I would play the drums more and more. Why was that? The more songs we wrote, the more our sound came into fruition, and it worked out to have me on the kit more regularly. I still have opportunities to play other instruments when we’re in the studio, of course. How did your approach evolve during the band’s process of finding its sound? I realized my drumming should be a little bit tighter, more succinct, and poppier. For example, I was a fan of Stewart Copeland, and while I’m not saying I can do anything close to his trickery be- hind the kit, I was influenced by his little nuances. Eventually, as I became the main drummer in Imperial Teen, I was able to play with that influence more. Imperial Teen also made use of electronics and drum samples. There are some electronic drums on our first couple of albums. It was kind of like, “I found this machine—let’s try it.” We’d record digital and electronic drums, and I often played along with them. I’d also create drum loops with live drums. I prefer to record and use loops that I make. When you sit down with a band, what are the primary things you focus on? Well, not rushing the songs—which I have a habit of doing. I really have to try to lay back. I’m always trying to find that space that makes a good show or not, and that makes a good performance or not—no matter how many people are there. I want to be in tune with my fellow musicians. And then, I want to find that abandon. It doesn’t always happen, because, you know, the monitor mix is not right, or somebody’s guitar strap fell off and they missed a part, or I can’t hear the keyboards. I’m also trying to play more within the experience, rather than KEXPModern Drummer November 2021 22 worry about how everyone is going to see me. I used to be more like that. I was out to prove myself. I just wanted to prove I could do all of this—especially as a woman, because there weren’t many of us around in the punk rock and grunge days. Now, there are many more women drummers—which I’m super happy about. As one of the few women drummers at the beginnings of punk rock and grunge, you proved you deserved to be there. But I think some female musicians arrive, and then they diminish themselves, because they don’t want to be seen as demand- ing—to even ask for the basics of what they need. I think you’re right. I think it has to do with being an adult woman in a man’s world. I felt like I was kind of stuck up to ask for what I needed. I remember when Sister Double Happiness was on tour, I asked for a drum riser. I thought, “I’m practicing 20 hours a week, I’m on the road, and I’m in one van with all these guys.” So, I said, “Give me a drum riser, because I don’t want to be in the back with all of you standing in front of me.” At the time, I felt, “I’m here, man. See me!” Then, as I got older, I relented somehow. I started to think, “Maybe I’m too demanding. I don’t want to be that kind of person.” You’ve had a long musical re- lationship with Jone Stebbins, who you met in the Wrecks, and who is also in Imperial Teen. In the Wrecks, we did about seven shows, mostly opening for punk bands touring through Reno. When I moved to San Francisco, that broke up the band. I was playing, recording, and touring a lot, and Jone was doing a variety of things, but not any musical projects. When Roddy and I start- ed talking about who should be in this new band, we thought of her. She knew how to play guitar, and we figured having her play bass would be appropriate, as our premise was to play instruments out of our comfort zones. So, it just kind of worked out. Jone and I definitely became way more close working together in the band. We were always friends, but now we’re like family. Specifically, how does Jone help you creatively? I take the creative process quite seriously, and I expect a lot out of myself. I really want to please myself and everybody around me. Jone is a good writing partner, because she tends to simplify the expectations I have for my parts. This is valuable, because it gives me the space to build parts over time, rather than expect the best part to happen almost immediately after the first few tries. How do you approach writing your drum parts? I love tom toms, so I tend to try to incorporate them. But it’s harder to use them much in Imperial Teen songs, because they are more pop. When we start a song, I have learned over the years to play pretty straight until I can figure out what’s happening. Many of our songs come out of jams. We all hate that word, but what else can we call it? Ideally, I try to find something that keeps everybody go- ing and maybe encourage another part—like a bridge or a chorus or whatever. Once the song arrangement gets turned around many times, I start to add or change things. For example, I love the power of the kick. Thank you, John Bonham! I might be doing something basic at the beginning of a song, and then I switch it up for the second half of the verse, or during the chorus or bridge. I rarely keep the same pattern through a whole song. Sometimes, a bandmate will suggest something they’d like to hear played on the drums, and I always try to make it happen, because it might be better than what I’m coming up with. I’m pretty good at figuring parts out myself, but I welcome suggestions. One of the things we really are proud of is that we all write the songs, so I can make a suggestion for somebody else, as well. Did you ever have any formal training? When Sister Double Happiness got signed to a major label, I thought I should take my drum- ming more seriously, so I took some drum lessons with a fellow in San Francisco. We worked on paradiddles, time signatures, reading drum notation, and ridding myself of mental blocks. It was a good experience, but most of it wasn’t something I could transfer into my drum- ming wholeheartedly due to my punk-rock roots of developing my own style. However, as time has passed, I realize I’ve hung on to some of the principles he shared with me. Recently, I started following Gina Schock, and she mentioned Dorothea Taylor, so I’ve watched Dorothea’s YouTube lessons on paradiddles. I’ve decid- ed I need to work on my skill set. I think it’s really good for the mind. You can get into Zen moments— regulated and calm. Regarding your drum perfor- mances, which songs are you proudest of? “Freight Train” and “On the Beach” from Sister Double Happiness. With Imperial Teen, I really like “Water Boy,” because it is punk rock and fun to play. Also, “Room With a View” from The Hair the TV the Baby & the Band, “No Matter What You Say” from Feel the Sound, and “We Do What We Do Best” on Now We Are Timeless. Any favorite moments in the recording studio? I did an album with [San Francisco punk-rock band] Frightwig, which Steve and Jeff McDonald of Red Kross produced. The Dicks did a Dead Kennedys cover record, and DK bassist Klaus Flouride played on it. That was cool. We also got to record with Jack Endino, who worked a lot with the Seattle grunge bands. What about not-so-favorite moments? One experience I didn’t like at all was when Sister Double Happiness got signed to Warner Bros./Reprise. The producer Chuck MaddenNovember 2021 Modern Drummer 23 booked us into this studio in Mendocino, California. It was on a ranch. We had a staff. It was like the worst thing for a band like ours. I liked to hang out around Sixth Street in San Francisco, where we practiced. I needed to feel that urban pulse—the beauty and the brutality of it all. That scenic, out- in-the-country recording situation was a misstep, and it affected our vibe. We had people trying to create our sound, but we already had a sound, so the experience left us a bit shell shocked and untrue to ourselves. That was tough. Who are some of your favorite drummers? Sister Double Happiness played a big festival in Europe, and I made my way over to watch Rage Against the Machine. Brad Wilk had set himself up with his back to the crowd and motorcycle mirrors attached to his kit so that he could see the audience. It was so cool. He had a big drum style, and his stage demeanor was intense— both of which I admired and wanted for myself. One of our favorite bands to tour with is the Breeders, and Jim MacPherson is such a great drummer. He’s super fun and efficient. I always found Samantha Maloney to be very powerful. Can you detail some of your current rig? I’ve owned three great drum sets in my career. Currently, I play a pearl-white Yamaha Recording kit. It’s beautiful and easy to tune. Before that, I had a Pearl kit, and before that was my vintage Lud- wig kit—which I wish I still had. I have an inexpensive drum kit in the basement. I don’t even know the brand or model, but it sounds really good. It cost a couple of hundred bucks, so there’s no need to get the most expensive drums to make you happy. I dig my Noble & Cooley snare that I’ve had for about 30 years. I also have endorsements from Vic Firth and Zildjian. Any gig nightmares? I play with two rack toms, one floor tom, a snare, two crashes, and a ride. But when you’re on tour, and a venue backlines the gear for your band, you may not get what you need. You’ll hear things like, “Oh, we only have one tom,” or “We don’t have another cymbal stand,” or “The last guy bled all over the snare drum.” It makes me batty when I show up and it’s not right. This is not a complaint like, “They’re not taking care of me like a rock star.” This is like having a piano with 66 keys instead of 88. It’s not, “I don’t want green M&M’s backstage.” It’s about being taken seriously and taking yourself seriously. For example, at the last show I played—which was two weeks before the initial lockdown—the rental drums were so lacking that they affected my performance and mood. I really tried to adapt and use what I was given, but I realized I have worked for more than 35 years as a drummer, and if I can’t get a decent kit to play on, it feels like disrespect. After that experience, I no longer will carry the thinking of “I don’t want to ask for too much.” That’s my rant. Any interesting projects folks might not know about? After touring with the Replacements, Paul Westerberg asked me to work on a project with him. When we toured with Dinosaur Jr., J Mascis asked me to play a live TV variety show in the U.K. when their song was at the top of the charts, because their drummer had broken his hand. Before the pandemic, Imperial Teen was collaborating with a modern-ballet company in Denver. We were to play live to a ballet based on our Now We Are Timeless record, as well as our back catalog. As a fan of dance, this was a very exciting and challenging project. But due to COVID, it was a missed opportunity. People lost so many things in the pandemic, so I will not complain, but it was a disappointment to have it set aside. I’m attempting to write some original music—which has been my goal for more than a decade. I am looking forward to what comes out of it. What are some of the things music has given you? It has given me a like-minded family of friends. It has given me things to study and appreciate when I go out to shows. It has given me purpose, and it brings me joy. It has contributed to my lifestyle, and it is something to share. Because of my life in music, I have a deep appreciation of all of the arts. I’m grateful for that. I’m a parent, and family life is demanding, but when I’m not working, I miss playing music. I can tell when I am not being creative. It’s almost destructive to me. But now, my kids are older—and two of them are driving themselves— so I have a little bit more time. I’m playing more drums and coming up with beats and writing songs, so that has been good for me. What’s on the horizon for Imperial Teen? At this moment, we have nothing planned. However, we are usually all game to get something in the books. It’s about time for that conversation. Marko MachielsModern Drummer November 2021 24 James PaiceNovember 2021 Modern Drummer 25 T he brisk, social-media tidbit on producer/ percussionist Tony Succar is that he is a wildly successful musician who has won two Grammys. There’s also the temptation to credit Succar’s accomplishments to some wild-eyed DNA profiling forged by his grandparents (a composer and a flamenco dancer) and his parents (a pianist and a singer). The only problem is—that ain’t the story. In actual fact, Succar could just as easily have been a soccer player as a musician—and a skilled bettor would have given soccer the nod. Musical DNA? Toss that one, as well. Succar had watched his family struggle financially throughout the brutal wargames that a career in music often entails, and he was less than enthusiastic about signing on for a life of sweat and heartbreak. But Succar’s story is indeed one of accomplishment, and once he surrendered to his love of music, there was no stopping him. And yet, his personal turbo-drive towards achievement was not purely driven by dreams of stardom. Instead, it was motivated by the thought of how much work he needed to do to become good enough to even have a chance at making it in the music industry. Succar was born in Lima, Peru in 1986, and his family emigrated to America two years later. As a teenager, playing in his parents’ Miami-based band became his version of helping mom and dad with the yardwork or shopping. Somewhere along the way, he developed an independent, entrepreneurial spirit, and by the time Succar entered the music department at Florida International University—the soccer ambitions all but extinguished—he was already putting projects together. Perhaps the most telling of these was Unity: The Latin Tribute to Michael Jackson, which had its genesis during Succar’s graduate program at FIU. Putting aside the thrilling concept of Latin covers of Jackson’s hits—as well as its stylistic hybrids and bona fide success (it hit number one on the Billboard Tropical Albums chart in 2015 and was featured as a PBS television special)—Unity is also a tribute to Succar’s indie grit, can-do attitude, and never- say-die work ethic. Lacking suitable funds to launch the recording project, Succar initiated a Kickstarter campaign to get things rolling. He worked with FIU students to flesh out arrangements. He fought hard to get the licenses to perform Jackson’s music. It took three years. He funneled revenues from his own band to cover Unity’s ongoing costs. He showcased the project at a 2012 TEDx event that featured Modern Drummer Hall of Fame member Sheila E. He managed various recording sessions and more than 90 contributing musicians. Unity was a colossal task that required patience and a single-minded resilience, but Succar got it done. Lesser mortals would have been ground to dust. When the 2019 Latin Grammy Awards named his record Mas De Mí as Best Salsa Album, and also gave him Producer of the Year honors—making him the youngest artist to win both categories—it shouldn’t have been much of a surprise. After all, Tony Succar is such a vibrant force he could probably compel the supervillains of the Marvel Cinematic Universe to dance their way into peaceful submission. And, hey, it would be kind of cool if timbales could save the world... You started out with a less-than-impassioned feeling about music making. Was there a particular moment, event, or experience that clarified your “all in” commitment to make music a career? It was when I was attending Florida International University, and I had to choose a career. I didn’t want to be a professional musician per se, because I was already playing gigs in my parents’ band, and I didn’t want to do that for life—playing every weekend and barely making ends meet. That was my parents’ reality. I remember trying a lot of different courses at FIU, and as I was talking to my advisor, I realized I didn’t like anything except music. However, in order to be truly successful, I knew I would have to be extremely good. I decided I would have to go all in on this, or else it wouldn’t work out. That was the pivotal moment. You’ve built an impressive home studio. Did you record Mas De Mí at home? Yes. I built my home studio, and I used that space to record Mas De Mí—my two-time Latin Grammy Award-winning and four-time nominated album. I’ve recorded all of my projects at home since then, including the recent singles I’m producing for Sheila E., Luis Enrique, and La India. Several Grammy artists have also recorded in my studio, such as Gilberto Santa Rosa and Jose “El Canario” Alberto. Tony Succar Percussion Powerhouse By Michael MolendaNext >