Very Good Vibrations : Pros and Amateurs Mingle at Percussion Convention

This city may still be recovering this morning from a jolt of rhythmic activity.

Over four days concluding Saturday, the prim-sounding Percussive Arts Society International held its annual convention at the Disneyland Hotel, and the enormity of it all was quite striking.

An estimated 3,500 amateur and professional musicians turned out to catch some of the more than 100 exhibitors, 200 performers and 128 events. Contributing to the sensory overload were drum-set clinics, marching band competitions, formal concerts, master classes, round-table talks and hand-drum jams.

High-profile drummers including Chad Smith (Red Hot Chili Peppers), Dave Weckl (Chick Korea Akoustic Band), Mike Palmer (Garth Brooks), Poncho Sanchez and Trilok Gurtu appeared among the lineup. And those seeking the unusual could soak in the rich, remarkable tones of Toronto’s Glass Orchestra.

Visitors to the Roland Co.’s display of state-of-the-art electronic gear must have felt as if they had strayed into Tomorrowland. Technological advances have spawned drum kits that have more in common with laptops than skin-tops. The “TD-7T Turbo Sound Module,” for example, with its built-in sequencing capabilities and on-board digital effects, seemed like something from the Magic Kingdom’s “Star Tours.”

The convention also showcased the percussive community as a global village. Well represented were the djembes and ashikos (Africa), congas (Cuba), taiko (Japan), dumbeks (Middle East), and cuicas (Brazil), among others. A video of percussionist Karamba Diabate performing with his Malinke people of Guinea wonderfully captured the djembe’s cultural significance.

Workshops spanned many genres, ranging from serious-minded drum-set clinics (e.g., renowned big-band drummer Ed Shaughnessy’s “Show Drumming and Jazz Techniques” and Madam Rubio’s “Expanding the Repertoire for Marimba”) to what evolved into a playful day-in-the-life-of-Garth Brooks Q&A; session (Mike Palmer’s “Studio vs. A Live Garth Show”).

Though designed to cater to many interests and skill levels, the convention is “a gathering of kindred spirits,” said Teresa Peterson, spokeswoman for the percussive arts group.

Two students, both members of Utah State University’s percussion ensemble, beamed as they described their first two days here. “Playing the drums is not a real popular activity on campus, like playing a sport is,” said Claire Passey, 18. “But here, I get goose bumps. It’s such a rush because of the talent and camaraderie.”

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Added 20-year-old Marie Leonhardt: “To actually see in person someone like Ed Shaughnessy perform, and gain his insight into what being a true professional is all about, is so motivating. He just reinforces the need to keep practicing. You can’t get this kind of education back at school.”

Eager to enjoy the good vibes, Susan Phillips volunteered for the convention logistics team. Hauling around “too many drum kits to count” was tiring but worth it.

“I got a late start on playing the drums, so I’m just trying to soak up as much of this atmosphere as I can,” said Phillips, 44, a Whittier native now living in Sacramento. “Hearing somebody like [jazz drummer] Joe LaBarbera emphasize all the little things, like avoiding drugs, maintaining good posture, paying attention and practice, practice, practice . . . those are the real lessons to pass on, especially to the youngsters.

“I’m really impressed with the approachability and graciousness of all of the professionals here,” she added. “I haven’t seen any of that ‘temperamental artist’ stuff. I was lucky enough to meet Jeff Hamilton (Lionel Hampton, Oscar Peterson, Ray Brown) and Clayton Cameron (Tony Bennett, Frank Sinatra, Joe Pass), and both were more than happy to share their time and good humor. They’re here only because they want to be here.”

For some, the convention provided an opportunity to mix pleasure and business. Ex-Winger and Dixie Dregs drummer Rod Morgenstein, for instance, promoted his latest venture, the Rudess Morgenstein Project. On Friday, playing before about 500, he and keyboardist Jordan Rudess performed progressive-rock and jazz during a workshop titled “Turn the Beat Around.”

“When I was growing up, there was nothing like this,” Morgenstein said. “I get a kick out of sharing my ideas and experiences with others, particularly beginners who are looking for some direction and encouragement.

“I think we all stick together because in the pecking order of the music biz, drummers don’t rate very high. We get taken for granted a lot. It’s always the singer and lead guitarist who get all the attention.”

Perhaps that Rodney Dangerfield complex explains an oft-heard riddle among the percussionists:

“What do you throw a drowning guitarist?”

“His amp.”