Many people ask me who are the drummers that have influenced the direction of my drumming and writing style. In my book "The Beat of a Different Drummer" the first solo is titled "Under the Influence." I have a rather eclectic group of rudimental drummers who I patterned myself after and that solo was dedicated to them. Who are they? That was the first real solo I ever wrote and the people who I admired and influenced me were Paul Cormier, Bobby Culken, Javier Morales, Les Parks, John S. Pratt, Al "Duke" Terreri, Bobby Thompson and Bill Westhall. Other than Les Parks I’ve had the opportunity to meet and become friends with all of these legendary figures. It was also dedicated to my first drum instructors, Gary Gillotti and Mary Comer (now Mary Saunders) They were both under the influence of the legendary Earl Sturtze as Gary studied with him and Mary was taught by Fran Januzzi who was a Sturtze student. Gary also took lessons with Danbury area drumming legend Curt Golder. But it doesn’t stop there… I believe in acknowledging all of the great drummers that came before us and I also took the space in my dedication page to "Thanks to the Masters." Cecil Andrews, Frank Arsenault, Nick Attanasio, Dr. Berger, Dave Boddie, Bruce & Emmett, Paul Cormier, Bobby Culken, Harold Green, Ed Lemley, Ken Lemley, Mitch Markowich, Gus Moeller, J. Burns Moore, Joe Morello, Les Parks, Charley Poole, Jr., John S. Pratt, Hugh Quigley, George Lawrence Stone, Earl Sturtze, Al "Duke" Terreri, Bobby Thompson, & Bill Westhall. Is that enough people to thank? Not really! After the book came out I realized I had three glaring omissions-Ed Classey, Eric Perriloux and Bob Redican. And the truth is there are many more! When you look at all of the names above you might think they all are logical influences. I’ll share a name with you who you may never have guessed influenced my music… Steeley Dan. Thats right, Donald Fagen & Walter Becker have influenced the direction that my music takes. A lot of the intricacy in their music isn’t obvious. For instance, they write lyrics that you listen to and think, "what the hell are they talking about?" I believe their lyrics are so clever that most of us don’t have any idea what they truly meant when they wrote a song. How does this apply to rudimental drumming? Sometimes I take figures that aren’t obvious and put them on a different part of the beat. When you first play it or hear you might wonder "what the hell was that?" As you sit down and break it down it might be a Drag Paradiddle #2 starting on the "uh" of the beat, or giving the 16th notes a flamacue accent. Sometimes I listen to Steely Dan and it sounds like one phrase of music doesn’t end, but instead blends or overlaps into the next. Sometimes I use the same idea. I’ll make measure 8 of one phrase become measure 1 of the next. I’m sure people think this is a stretch, but when we create music and art, (and yes I believe drumming fits both categories) not everybody can understand what influenced us. Only WE know deep inside where something came from. Sometimes it is obvious, sometimes it seems abstract. I believe that is what makes it all fun. So to all of you out there who have drummed next to me, or I’ve had the opportunity to watch perform I’d like to say thank you! Although you may not have realized it I was probably "under the influence" of your music too! In the spirit, Dominick Cuccia
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