released January 13, 2004

“A Glimpse Into A Deeply Disturbed Mind” - TERRY BOZZIO

Terry Bozzio - Drums, Keyboards, Voice, Reason, and Ableton "Live" Sequencing Software
Composed, Performed and Produced by Terry Bozzio
Engineered, Recorded and Mixed at Austin School of Music Studio by Chet Hines
Edited by Terry Bozzio (with Pat Mastelotto)
Special Thanks Adam Castillo at M-Audio; David Sebree at ASM; Pat Mastelotto; Chet Hines

This track was approached in the following manner:
1) Construction of the backing track with samples flown into "Live" on my laptop and tweaked/effected.
2) Recording real drums to the track in 6 individual passes, in the studio with Pro Tools.
3) Editing the drums into stereo loops of various types of parts, beats & solos.
4) Assembling the drums, voice and backing track in "Live".
5) Adding/recording the lead synth with "Reason".
6) Bouncing all back into Pro Tools for mixing in the studio.

The concept was to reverse the trends in Dance/Techno music that fly real music over electronically programmed drums. I tried to use the electronic sampled music as an accompaniment to my real drumming. I felt the result was so intense and relentless that it seemed to reflect my own manic/depressive/obsessive/compulsive mental machinations . . . hence the title! - Terry Bozzio

Terry Bozzio plays/uses DW Drums, Pedals & Hardware; Sabian Radia Cymbals; Vic Firth TB Phase I Sticks; Attack TB Signature Drumheads; Puresound Beaters & Snares; AKG Mics/IVM1; May Mic BD Mounting System; XL-Specialty Protector Cases; LP Percussion; M-Audio Products


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"Beelzebub" - BILL BRUFORD'S EARTHWORKS

Bill Bruford - Drums
Tim Garland - Bass Clarinet, Soprano Saxophone
Steve Hamilton - Piano
Mark Hodgson - Acoustic Bass

Composer and Producer - Bill Bruford for Bill Bruford Productions Ltd.
Published by BMG Music Publishing.
Recorded and Mixed at Livingston Studios, London. October 3, 2002
Engineer - Mark Chamberlain
Assistant - Tom Davidson

Short, nippy, and to the point, “Beelzebub” was the first tune I wrote for my first album in 1977, and is given a new and acoustic lease of life here. “Beelzebub” (from the old Hebrew meaning Lord of the Flies, prince of the evil spirits, a form of the Devil) is particularly knotty to play, and Tim Garland’s bass clarinet gives it exactly the right colour – dark, brooding, and intense. Earthworks is a one-take sort of band, and we don’t worry too much about the sort of antiseptic cleanliness associated with too much Pro-Tooling. Four musicians played it in the same room at the same time, a novel idea indeed. And I’m thrilled to have it included alongside the efforts of other, infinitely more distinguished, players than I, on this rich and diverse CD, dedicated to the art of the drummer. - Bill Bruford


Bill Bruford uses Tama drums, Paiste cymbals and Evans drum heads, which he
mics with Shure microphones and strikes smartly with Pro-Mark drum sticks.

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“Mad Tea Time Part 1” - STEVE SMITH AND ZAKIR HUSSAIN
“Mad Tea Time Part 2” - STEVE SMITH AND ZAKIR HUSSAIN

Steve Smith - Drums
Zakir Hussain - Tablas
George Brooks - Tenor sax and Tamboura
Fareed Haque - Sitar Guitar
Kai Eckhardt - Bass

Written by George Brooks and Steve Smith
Earth Brother Music BMI, Vital Information Publishing ASCAP
Recorded live in the studio with no overdubs.
Produced by Steve Smith
Co-produced by George Brooks and Mark “Mooka” Rennick
Recorded December 30, 2002 and Mixed January 2, 2003 by Mark “Mooka” Rennick and Jason D’Ottazio at Prairie Sun Recording, Cotati CA
Assisted by John Anaya
Intern Josh Shaddock
Photo of Steve Smith and Zakir Hussain by Zac Palmarini

When the offer came to submit a track for this project, I wanted use the opportunity to record a duet with Zakir Hussain, the man that I believe is the greatest drummer in the world. Zakir and I have been recording and touring together in George Brooks' group, Summit, as are all the players featured on “Mad Tea Time”. Rhythmically the tune is based on some Indian drum compositions and rhythms that I’ve learned since developing an interest in Indian drumming in 2001. The melodic material in “Mad Tea Time” is derived from rag Madhuvanti, a complex mode, which in India, is often played in the late afternoon (high tea time). George and I collaborated on the writing. I brought in most of the rhythmic ideas, George composed the melody/harmony, and Fareed Haque and Kai Eckhardt helped us flesh out the arrangement. Zakir Hussain helped it all come to life with his brilliant concept, sound and virtuosic tabla chops. Rhythmically the piece features “drum compositions” -- complex unison drum parts, “tihai’s” -- rhythmic phrases repeated three times resolving to “one,” and “reductions” such as the opening “cow’s tail” which starts with groups of seven repeated three times (it’s common to repeat rhythms three times in Indian music) and works it’s way down -- six, five, four, three, two, ending with the tihai “takita dhaa - takita dhaa - takita dhaa.”

When I play with Zakir I use my Sonor Jungle Kit, a small drum set with a 16” bass drum, and I use “bundled rods” instead of sticks because the sound blends well with the tablas without being overpowering. I’ve been experimenting with the technique of pitch bending, simulating the pitch bending of the bayan (the left tabla drum). In this piece I used the left beater of my double pedal to alter the pitch of my bass drum in a couple of places. Enjoy! - Steve Smith

Steve Smith thanks Zakir Hussain for your inspiring presence and playing, George Brooks for your unending flow of strong musical ideas and dedication to this project, Kai Eckhardt and Fareed Haque for your incredible musicianship and fitting this project into your crazy schedules, and “Mooka” Rennick for your abundance of enthusiasm, fantastic studio and superior engineering chops.

Steve Smith uses Zildjian cymbals, Sonor drums, Vic Firth Steve Smith signature drumsticks, Remo heads, DW bass drum pedals, Shure mics, and Porcaro cases.

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“The Spell” - CHAD WACKERMAN

Chad Wackerman – Drums
Daryl Pratt - Vibes
James Muller – Guitar
Leon Gaer – Bass

Recorded in Sydney, Australia at “The Drumroom” by Guy Dickerson.

One of the things I enjoy most is composing and recording original music, so I jumped at the chance to write something featuring my band and giving myself a chance to stretch a little. I wanted to compose something with a heavier rock feel than I have done on my previous recordings; ’The Spell’ has a slow 5/4 feel with a quirky melody played on vibraphone, triggering a koto (Japanese harp) sample. The melody shifts between sixteenth and triplet based subdivisions. There is a dramatic shift in mood in the bridge, which features the guitar work of James Muller. I decided to call the tune ‘The Spell’ because of its dark, menacing mood. I’d like to thank Pete Morticelli for inviting me to participate on this project, and I want to thank my band Daryl Pratt (vibes), James Muller (guitar) and Leon Gaer (bass). - Chad Wackerman

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“Sprung Monkey” - STANTON MOORE

Stanton Moore - Drums
Robert Mercurio - Bass
Jeff Raines - Guitar
Rich Vogel - Hammond B-3
Ben Ellman - Baritone Sax

Lil Rascals Brass Band Horns:
Dewan Scott - Trumpet
Jeffery Hills - Tuba
Glen David Andrews -Trombone
Corey Henry - Trombone
Mervin Campbell -Trumpet
Vincent Broussard - Saxophone

Written by Stanton Moore
Published by Stanton Emery Music (BMI) Administered by Ryko Music Inc.
Produced by Stanton Moore and Mike Napolitano
Engineered by Mike Napolitano
Recorded at Ready Mix Studios, New Orleans, LA
Mixed at the Nappy Dugout, New Orleans, LA

When asked to do this project I was recording a new record with Galactic in our new studio. I knew we weren't going to record this tune for the record because we were headed in a different direction. We were all set up, so it made sense to record this with the Galactic rhythm section and include our friends, The Lil Rascals Brass Band. It was fun because there are no overdubs or loops which was different from what we were recording with Galactic at the time. The drum that sounds like a floor tom with jingles is an LP pandeiro set up to the left of my hi-hat. To me, this cut is what a culmination between a funk band and brass band should be -loose, fun and fat. I hope you have as much fun hearing it as we did playing it. - Stanton Moore

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“Manganese” - SIMON PHILLIPS

Simon Phillips – Drums
Jeff Babko – Keyboards
Jimmy Johnson – Bass
Andy Timmons – Guitars

Written by Simon Phillips
Pants Party Publishing (ASCAP)
Recorded at Coy Sound on January 16, 2003.
Produced, Engineered and Mixed by Simon Phillips

“Manganese” took about a day to compose and was actually the first solo piece I have written in a while. I was very lucky that Jeff Babko, Jimmy Johnson and Andy Timmons were available and before I knew it the day was upon me. After getting sounds, throwing on the phones and learning the chart we cut the track in just a few hours – nice and live and full of energy. A couple of guitar overdubs and that was it – ready to mix and that took all of a day. This was so much fun to write, record and mix, without the enormity of recording a full length CD – a hark back to how records were made in my earlier years, with all the advantages of modern techniques. Very enjoyable. Thanks, Peter - Simon Phillips

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“Lagerborg” - JOSH FREESE

Josh Freese – Drums
Written and performed by Josh Freese.
Recorded and Mixed by Chad Fischer at Lookout Sound in Los Angeles

I wrote this song for a performance that I did at Drum Day LA in December of 2001. It hadn't been recorded though until this particular project was brought to my attention. I thought it'd be perfect. It's sort of "prog-rock/new wave meets the Queens of the Stone Age" to me. It's urgent and frantic with that kind of knee-jerk odd time thing happening. Pushing forward nervously with the sense that it could fall apart at any given moment. It's in 11/8 for the most part with a few 4/4 parts thrown in for good measure. It's named after Chris Lagerborg who passed away right before I recorded it. He was one of my closest friends and a great drummer. He would've loved this song.....if no one else.....he would've dug it. - Josh Freese

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“Faceless Pastiche” - ROD MORGENSTEIN

Drums and Percussion - Rod Morgenstein
Keyboards - Jordan Rudess

Written by Rod Morgenstein

Even though musicians and bands often receive great reviews for concerts and recordings, it's funny how we tend to remember (and sometimes obsess on) the occasional 'knife in the back' remark. The very first negative review my band, the Dixie Dregs, ever received referred to our music as 'faceless pastiche'. This infamous remark, a phrase which I assume was intended to portray our music in a negative light as 'uncategorizingly all over the place', is, in fact, the inspiration for my song on this Magna Carta drummers recording. Fusion, by its very nature, involves a melting pot or 'fusing together' of different musical styles, in the hope of creating something new, special, different, and perhaps even uncategorizable. I am proud of the fact that this song dabbles in the realm of fusion, prog, and jazz, with some ethnic sounding drumming thrown in for good measure. So, if 'faceless pastiche' is what that SOB calls it, then 'Faceless Pastiche' it is! - Rod Morgenstein

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“Shut Up And Play Yer Drums” - TIM ALEXANDER AND BRAIN

Tim Alexander – Drums and Percussion
Brain - Drums and Percussion

Music by Tim Alexander & Brain
Recorded at Zilla studios in San Francisco CA
Recorded and Mixed by Jeff Pinn at Zillastudios.com
Thanks to Saleem, Tony, Goob

We weren't really sure what was going to come out of this idea of having us play together on a song. We started with each of us playing separately and making a more normal song, and it ended in the song crapper.
So we decided that it would be great to pay homage to Frank Zappa's ‘Shut Up And Play Yer Guitar’. We gave it a good shot and we came up with this song. Not quite as cool as Frank, but cool in its own way. We had 2 days booked to record it and mix it. So, since one day was wasted on the first approach, we were feeling the pressure. Well, we just went for it and came up with this song. I hope you enjoy it. - Tim Alexander


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“Wandering Portland Maine” - MARCO MINNEMANN

Marco Minnemann – Drums and Percussion
Composed and Performed by Marco Minnemann
Recorded and Mixed by Britta Kuhlmann at Principal Studios, Senden, Germany

I wrote this track during my 2002 solo tour in November. And how it happened, during my day off in Portland Maine. I was in my ‘average-hotel-room-song-workout-process’ and a lot of the writing ideas then happened during my Maine-stay in different places such as restaurants or laundry places. That’s why I came up with no better title this time than ‘Wandering Portland Maine’. Anyway, when I’m on the road I use my iBook to capture the composition on midi. Later, in the studio I’d replace everything with real instruments. On this one, I had a hard time playing guitars because there’s some fast stuff in the middle section, and I’m more a virtuoso drummer! But I’m getting to it. Have fun listening. Oh, for those trying to figure out the ‘odd-part’ - it is 15/16, 17/16, 9/16, 13/16, 11/16, 19/16, and, then, it repeats. Thanks for your attention. - Marco Minnemann

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“Pull Up My Sleeve” - STEPHEN PERKINS AND BROOKS WACKERMAN

Stephen Perkins – Drums
Brooks Wackerman – Drums
Solo 1 (Brooks Wackerman); Solo 2 (Stephen Perkins)
Recorded at Perkins Palace April 2003
Mixed by Josh Newell

‘Pull Up My Sleeve’ is a combination of two themes. The first being a conversation between two drum sets. The second being a song realized through hand percussion. Using our hands and feet as voices, we were talking to each other in the language of RHYTHM. We were delighted to play off each other.
The first half starts with a motif. A certain pulse begins to build and, OFF, we go! Machine gun rapid fire fills growing into a climax with authentic chaos. The second half hands off melodies using timpani, slit drum, talking drum, xylophone and other assorted toys; ending with a wake up call. Gong! Enjoy it, we did. - Stephen Perkins

This duet basically has 3 parts, the free form ethereal sections, the 6/8 groove and the shuffle with the back beat. We both improvised on top of each other's grooves, with our intention to keep it as musical as possible. The first arrangement we had for this project was more moody and spacious, so we both unanimously agreed to pump more aggression into this machine, while maintaining a dynamic feel. It was no more than 1 to 2 takes, and the result was a drummer’s high five. - Brooks Wackerman


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Special Thanks To Heinz Kronberger for his talent and extreme generosity and Joe Franco for his intellectual feedback.