{"id":594,"date":"2022-04-01T14:34:13","date_gmt":"2022-04-01T14:34:13","guid":{"rendered":"https:\/\/houghtonmusic.com\/?page_id=594"},"modified":"2022-04-01T15:14:48","modified_gmt":"2022-04-01T15:14:48","slug":"about","status":"publish","type":"page","link":"https:\/\/houghtonmusic.com\/about\/","title":{"rendered":"About"},"content":{"rendered":"

[vc_row full_width=”stretch_row_content_no_spaces”][vc_column][vc_custom_heading text=”ABOUT” font_container=”tag:h2|text_align:center|color:%23ffffff” use_theme_fonts=”yes”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” full_height=”yes”][vc_column width=”1\/6″][\/vc_column][vc_column width=”2\/3″ css=”.vc_custom_1648825740596{padding-top: 50px !important;padding-right: 50px !important;padding-left: 50px !important;background-color: rgba(255,255,255,0.81) !important;*background-color: rgb(255,255,255) !important;}”][vc_column_text]<\/p>\n

Small Victories: My Performing and Teaching Life<\/strong><\/em><\/h3>\n

by Steve Houghton<\/p>\n

In May of 2020, I retired from teaching at Indiana University after twenty wonderful years. With newfound time on my hands, I decided to take a good look at my performing and teaching over the last 45 years, examining why <\/em>I taught, what<\/em> I chose to teach, and how<\/em> I got there.<\/p>\n

I have enjoyed a varied and exciting performing career, playing all types of music while traveling the globe and working with amazing musicians. All the while, it seemed that my playing career meshed comfortably alongside my teaching activities\u2014first in Dallas, then Los Angeles, and finally in Bloomington, Indiana. It became obvious that bringing workplace situations into the teaching studio, such as big band or studio charts, jazz recording projects, gig music, etc., really served to inspire the students, providing them with a glimpse of the \u201creal world.\u201d However, even with the luxury of a four-year collegiate jazz program, it hardly seemed like enough time to cover the necessary material and create the experiences I found vital. I\u2019ve attempted to share the influences and concepts that shaped my playing and, consequently, my teaching. I sincerely hope that my journey can assist and inspire in some way.<\/p>\n

While the \u201csmall victories\u201d concept was a main component of my teaching, it also reflected impactful moments in my life as well. My small victories started all the way back to joining the 6th<\/sup> grade band, playing in my first concert, winning my first award, attending North Texas and making the 1:00 Lab Band, playing with Woody Herman and Freddie Hubbard, working with John Williams, becoming a college professor, and even surviving the pandemic and playing music again. These moments were the building blocks of my musical life.[\/vc_column_text][vc_btn title=”DISCOGRAPHY” style=”classic” color=”black” align=”left” i_icon_fontawesome=”fas fa-file-download” css_animation=”left-to-right” add_icon=”true” link=”url:https%3A%2F%2Fhoughtonmusic.com%2Fwp-content%2Fuploads%2F2022%2F04%2FSteve-Houghton-Discography-2022.pdf|target:_blank”][vc_btn title=”PUBLICATIONS” style=”classic” color=”black” align=”left” i_icon_fontawesome=”fas fa-file-download” css_animation=”left-to-right” add_icon=”true” link=”url:https%3A%2F%2Fhoughtonmusic.com%2Fwp-content%2Fuploads%2F2022%2F04%2FSteve-Houghton-Publications-2022.pdf|target:_blank”][vc_tta_accordion section_title_tag=”h2″ style=”outline” shape=”square” color=”black” c_position=”right” active_section=”9″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”My Influences” tab_id=”1648824098298-7b929fa4-d082″][vc_column_text]My musical fundamentals and early focus on total percussion, including drum set, can be traced back to my first music teacher, Manny Mitka. His concentration on reading and total percussion has served me well throughout my entire career. Then in high school, I took a series of memorable vibe lessons with Dave Samuels, which left a lasting impact on my life. And before entering college, I met Ed Soph at a jazz camp, where he became a strong role model, heavily influencing my technique and a modern-sounding jazz style.<\/p>\n

Over time, my big band influences continued to evolve. Early on in high school, I enjoyed Woody Herman recordings with Ed Soph, Joe LaBarbera, <\/strong>and of course Jake Hanna in the 1960s. I certainly appreciated Buddy Rich, Louis Bellson, and the Basie band with Harold Jones and Sonny Payne. John Von Ohlen and Peter Erskine\u2019s work with Stan Kenton were also inspiring. Then, while studying at North Texas, I finally heard Mel Lewis. Upon discovering Lewis, my whole approach to big band was transformed, and I\u2019ve been a devotee ever since.<\/p>\n

After touring with Herman\u2019s band, I moved to Dallas to start the next chapter of my career. Phil Kelly, a great arranger and producer, gave me a shot and showed me the studio ropes. He was a former drummer and taught me a great deal about functioning in the studio, from selecting proper drum sounds to playing with click tracks and devising effective parts. He knew it all.<\/p>\n

Moving to Los Angeles four years later, two individuals helped further my knowledge and experience. Peter Matz, a wonderful arranger\/musical director, really guided me with respect to playing live shows, Broadway shows, and recording sessions. Les Hooper, a busy Hollywood composer\/arranger made it possible for me to record TV shows and jingles. Through his writing, I learned what would be appropriate to play.<\/p>\n

Later, I became familiar with Sol Gubin who had a wonderful career with Tony Bennett, Frank Sinatra, and The Carol Burnett Show<\/em>. Gubin was one of the most respected guys in town, along with Nick Ceroli who played with the Bob Florence Big Band. There was also the great Shelly Manne\u2014I emulated Manne for a variety of reasons, including his versatility and ability to sound great with a trio, quintet, big band, or studio orchestra. He was a total percussionist, composed for TV, and was a first call studio player in Hollywood\u2014my kind of guy!<\/p>\n

I would be remiss not to mention my dear friend, the legendary percussionist Emil Richards, who took me under his wing as soon as I moved to Los Angeles. He made me feel so welcome and supported as a young professional trying to make it in LA, inviting me to sessions, dinners, and gigs; he even loaned me gear whenever I needed it. Eventually, I played jazz gigs with Emil around town, PAS conventions, clinics around the country, and percussion festivals in Germany and Taiwan. What a true joy and lots of laughs!<\/p>\n

The \u201880s was an exciting time in Los Angeles, with a thriving studio and gigging scene, as well as lots of great musicians. During my time on the West Coast, I was very fortunate to have played with the great big bands of Toshiko Akiyoshi, Ray Brown, Frank Mantooth, Bob Florence, Bill Holman, Les Hooper, Phil Kelly, Gordon Goodwin, and John Williams, adding depth and variety to my ensemble concepts.<\/p>\n

It seemed that in every small group there was an unstated, yet automatic, musical synergy between piano and drums that controlled and guided the musical intensity. For me, this awareness started at North Texas with Lyle Mays, continuing with Billy Childs in Hubbard\u2019s band, and then Steve Allee in Indianapolis. I grew to admire the almost telepathic \u201chookups\u201d<\/em> between Billy\/Cedar, Chick\/Roy, Chick\/Gadd, Elvin\/ McCoy, Jimmy\/Wynton, Tony\/Herbie and Keith\/Jack, to name a few. Each one creates a different energy and intensity level that results in a perfect chemistry for the music.<\/p>\n

Bass players have taught me lots about time, groove, and style. A few that come to mind are:<\/strong><\/p>\n

    \n
  • Bob Bowman<\/li>\n
  • Marc Johnson<\/li>\n
  • Tom Warrington<\/li>\n
  • Chuck Berghoffer<\/li>\n
  • Jimmy Johnson<\/li>\n
  • Lou Fischer<\/li>\n<\/ul>\n

    Piano players have helped shape my \u201ccomping\u201d concepts and phrasing ideas. A small sampling includes:<\/p>\n

      \n
    • Lyle Mays<\/li>\n
    • Steve Allee<\/li>\n
    • Billy Childs<\/li>\n
    • Fred Crane<\/li>\n
    • Lee Musiker<\/li>\n
    • Shelly Berg<\/li>\n<\/ul>\n

      \u00a0<\/em>My drumming influences didn\u2019t appear in any kind of chronological order. Frankly, in the beginning I jumped over some of the great early drummers I have since studied and come to admire, helping me to become a better musician and teacher. In general, I\u2019ve always observed drummers who played in bands that I enjoyed. I chased the sound, touch, vocabulary, and musical concepts from drummers who played the same repertoire as I was asked to play.<\/p>\n

      I\u2019ve been fortunate to spend time with my students exploring and doing \u201cdeep dives\u201d on a wide variety of jazz, big band, ECM, studio, fusion, Brazilian, and Afro-Cuban drummers. After exploring hundreds of drummers over the years, I have determined that the following list of drummers found their way into my playing, and I thank each and every one of them for their ongoing influence:<\/p>\n

        \n
      • Jimmy Cobb<\/li>\n
      • Billy Higgins<\/li>\n
      • Roy Haynes<\/li>\n
      • Elvin Jones<\/li>\n
      • Tony Williams<\/li>\n
      • Shelly Manne<\/li>\n
      • Sol Gubin<\/li>\n
      • Jon Christensen<\/li>\n
      • Jack DeJohnette<\/li>\n
      • Terry Clark<\/li>\n
      • Mike Clark<\/li>\n
      • Harvey Mason<\/li>\n
      • John Guerin<\/li>\n
      • Stix Hooper<\/li>\n
      • Paulo Braga<\/li>\n
      • Mel Lewis<\/li>\n
      • Ed Soph<\/li>\n
      • Bill Stewart<\/li>\n
      • Marty Morell<\/li>\n
      • Joe LaBarbera<\/li>\n
      • Steve Gadd<\/li>\n
      • Ignacio Berroa<\/li>\n<\/ul>\n

        [\/vc_column_text][\/vc_tta_section][vc_tta_section title=”My Teaching” tab_id=”1648824209690-20cba294-2c09″][vc_column_text]My teaching has always focused on being a working drummer, as well as being able to play authentic jazz, rock, and Latin, while feeling comfortable in the studio or reading charts with large ensembles. While I focused heavily on jazz drumming over the years, my curriculum grew stylistically broader with the goal of becoming a versatile musician who could thrive in any musical format, live or in the studio.<\/p>\n

        Mission Statement<\/h3>\n

        To inspire, challenge, and mentor my students by example, providing a path to becoming a high-level, creative, versatile musician with great ears, while encouraging them to find their own musical voice and follow their passion, whatever that may be.<\/p>\n

        Core Values<\/h3>\n
          \n
        • Versatility<\/li>\n
        • Authenticity<\/li>\n
        • Compatibility<\/li>\n
        • Adaptability<\/li>\n
        • Reliability<\/li>\n<\/ul>\n

          Strengths and Weaknesses<\/h3>\n

          I feel that the very first lesson must begin with a player\u2019s honest self-analysis of their strengths and weaknesses. The goal of this exercise was to provide a roadmap for designing an individualized curriculum. Student responses to this exercise were often quite interesting\u2014some simply could not determine this for themselves, and others would come up with a completely different set of problems than what I had identified.<\/p>\n

          Small Victories<\/h3>\n

          This was a concept I developed back with my first clinic while playing with Woody\u2019s Band. The idea was to try and get a single student, a rhythm section, or an entire big band to sound better quickly. Everybody goes home happy\u2014a winner. Again, I look back at my past and see clearly the positive effect of my own \u201cvictories.\u201d As I started teaching, these moments arrived for my students in many forms\u2014an exercise, chart, solo transcription, great lesson, audition, concert, recording, and\/or live gig. The idea is to stack these achievements, resulting in greater confidence and a better understanding of the music (i.e., how they can effectively function as a performer in school or in the greater music business).<\/p>\n

            \n
          • Success demands singleness of purpose.<\/li>\n
          • Confidence is contagious; so is lack of confidence.<\/li>\n
          • Perfection is not attainable; but, if we chase perfection, we can catch excellence.<\/li>\n<\/ul>\n

            Lessons<\/h3>\n

            The weekly lessons were designed to include the following areas, each and every week: technique, styles, reading, soloing, and listening. Inevitably there was not enough time to cover everything. I usually assigned a lot of material as one area supported several others, and the results were most often very impressive. At the end of the semester, the students were always surprised at the amount of material we covered.<\/p>\n

            No Nonsense Teaching<\/h3>\n

            Through my years of clinic and lesson work, I was able to develop an efficient approach to solving specific drumming problems, always trying to be clear and to the point, getting to the heart of the matter. Modeling was an invaluable tool. If the student could clearly hear the difference, it made all the difference. My favorite statement was: \u201cWhat did I do differently?\u201d<\/p>\n

              \n
            • Ask the student to accurately define the problem or challenge.<\/li>\n
            • Identify the problem and provide clear explanation.<\/li>\n
            • Diagnose the solution with a demonstration.<\/li>\n
            • Remedy the issue quickly!<\/li>\n<\/ul>\n

              Technique<\/h3>\n

              A technical foundation must be maintained, much like a daily vitamin or going to the gym to work out regularly. Serious drummers must dedicate themselves to a daily technical routine (starting with the hands) as that lays the foundation on our instrument, with specific attention paid to each of the following:<\/p>\n

                \n
              • Snare drum<\/li>\n
              • Bass drum<\/li>\n
              • Hi Hat<\/li>\n
              • Coordination<\/li>\n
              • Stickings<\/li>\n
              • Ride cymbal<\/li>\n
              • Brushes<\/li>\n<\/ul>\n

                I have based some of my teaching on my valuable time learning from Ed Soph. I also embraced Gary Chaffee\u2019s technique exercises for hands and feet, as well as his linear concepts. Syncopation (Ted Reed) <\/em>can be an effective piece of a daily hands routine, doing the pages with various stickings and soloing concepts. Those pages, if done correctly and creatively, can be used as a valuable tool in your drumming. The Rudimental Ritual<\/em> by Alan Dawson has found its way into my teaching; however, my student Rocky Martin shrunk it down from its original form of 400 rudiment variations to a lean 30, which has made it more manageable and easier for students to memorize.<\/p>\n

                Bring Music into the Practice Room<\/h3>\n
                  \n
                • Play exercises to tracks<\/li>\n
                • Styles to tracks<\/li>\n
                • Charts to tracks<\/li>\n
                • Solo transcriptions to originals<\/li>\n<\/ul>\n

                  Know that practicing technical exercises for hands and feet can and should be done to music, if played at the appropriate tempo and style. For example, Stick Control <\/em>or the Rudimental Ritual <\/em>can be played to a samba. Playing Chaffee\u2019s linear exercises to funk tracks, <\/em>Wilcoxon\u2019s exercises to 2nd<\/sup> line tracks, or Syncopation<\/em> exercises to McCoy\/Elvin, brings them to life and unearths solid phrasing and feel possibilities. The player might even strengthen a style without knowing it.<\/p>\n

                  Stylistic Concepts<\/h3>\n

                  I believe that this is perhaps the most important aspect of becoming a successful working drummer. Developing a broad knowledge of styles allows one to play in a variety of musical settings. However, this takes in-depth study of each style, understanding that each one will resonate differently with each player. Suffice it to say, whatever style you explore, do your homework and dig deep. Extensive listening and analysis are necessary. At the end of the day, each player will most likely have a passion for a certain style of music. The thing about styles is that they\u2019re constantly changing and morphing into hybrid styles, or combinations of many styles and influences. Great players are constantly coming up with completely new takes on grooves, so pay attention and experiment.<\/p>\n

                    \n
                  • Essential Styles for the Drummer and Bassist<\/em> (Alfred) 1990 \u2013 Houghton\/Warrington<\/em><\/li>\n
                  • \u00a0<\/em>Essential Styles II for the Drummer and Bassist<\/em> (Alfred) 1992 \u2013Houghton\/Warrington<\/em><\/li>\n<\/ul>\n

                    NOTE:<\/strong> I was very fortunate to teach alongside Michael Spiro at Indiana University, one of the greatest scholars\/educators\/performers of Afro-Cuban and Brazilian music in the world. To have that knowledge \u201cnext door\u201d was great for me and my drum set students, providing us with a broad and very authentic concept for those important musical cultures.<\/p>\n

                    \u00a0Chart Reading<\/h3>\n

                    A comprehensive study of chart reading is necessary if the player wants to compete in the area of big bands, live shows, pops orchestras, and studio work. The ability to read also opens up the world of drum set books, which speeds up and expands the learning process. An entire menu of musicality can be unleashed through chart reading, including styles, comping, sectionalizing, setups, dynamics, phrasing, shaping, interaction, blend, and intensity levels.<\/p>\n

                    As I like to say: Reading is not seasonal! (I haven\u2019t read in months) It demands constant maintenance and upkeep. I stress reading something every day, even if for just 15 minutes. Keeping the eyes and brain active is vital. The player must keep their chart reading sensibilities on high alert.<\/p>\n

                    Mantra: Any figure\/any style\/any tempo<\/h3>\n