Chris Cornell. Smashmouth. Vertical Horizons. American Hi-Fi. The Rembrandts – these bands, and other artists have something, or someone I should say, in common. That someone is drummer Jason Sutter. Jason, currently playing with Chris Cornell is an outstanding drummer and meeting him briefly at NAMM was entertaining. We didn’t talk much but he did agree to give us an interview, and now, only a mere five months later, here it is!
Drumrock: Can you share with us a bit about how you came into drumming at such a young age?
Jason Sutter: My father was a huge influence and as soon as I showed the slightest interest he did everything from buying me every drum book to a beautiful vintage 60s blue sparkle Ludwig set to dragging me at eight to see Buddy Rich at our college campus. The biggest step was my father was the Art Professor at Potsdam College in New York and was friends with the Percussion Professor and traded a large drawing for drum lessons for me which began in the 5th grade with the renowned teacher and clinician, James Peterscack who had also taught a young Dave Weckl and Vinnie Colaiuta among many others. He really showed me that this was serious business and taught me impeccable technique at a young age with a major focus on rudiments and it has set me on the right path ever since. It gave me the edge and confidence at a very young age.
I should note that my father recently retired and I returned the favor by giving him a red sparkle set of vintage Ludwigs and he practices everyday. We even went and kicked it at NAMM this year so he has the bug now too!
DR: According to your website, you were playing bars at age 13 – did you know immediately that this was your calling?
JS: Well I started by jamming with local kids when I was nine shortly after I had my first set. They were all a few years older than me and their parents were all affiliated with the College as well so we were all pretty diligent. We played 5th and 6th grade assemblies and dances and started playing at local dance halls with our parents driving us an picking us up and our friends fighting to see who would be our roadies. We played mostly blues based music like the Rolling Stones, Hendrix, and the Doors and we were quite good. Needless to say once I got my first $2 pay and had all the girls from local towns freaking out and treating me like a celebrity I was hooked. It’s pretty amazing to think that, with the exception of music school, I have been doing the same thing ever since!
DR: Did you at any point say, ‘screw this! Business school, here I come!’ and if so, what brought on that minor hiccup in your career path?
JS: No. At a young age when all my friends who were drummers started dropping off in high school ‘cause of girls and sports, I started playing with older players and by 14 was playing three days a week in bars three sets a night and getting paid.
When I got to University of North Texas I was used to being in a college environment but nothing could prepare me for the intensity and breakneck pace of that school. I was terrified in the beginning and just practiced all day and night and went headlong into it to survive. As freshmen there where 70 new students five years later 13 of us graduated. I knew if I could make it there then I could make on the outside. It was very heavy. I was in school with Keith Carlock, Jim Riley, Blair Sinta, Matt Chamberlain, and Earl Harvin. Serious competition and inspiration. It made my Graduate experience at University of Miami in Florida seem like a walk in the park and from there I got my first real touring gig with Juliana Hatfield and have never looked back.
DR: Your resume reads so eclectic today – it seems that folks generally have their choice of genre and stick to it. How or when in your evolution did you come to recognize the fun of genre hopping?
JS: In Music school I studied everything from Drumline to African music to Orchestral, Jazz, etc. If you're, smart you will become as diversified as you can as a drummer which ultimately means never being unqualified stylistically for a gig and simply means you can work more. I love wearing different hats being a drummer; it’s a real challenge but super satisfying to be able to deliver the goods to any musical situation.
DR: Does the idea of sinking in to a single genre scare you, in a sense?
JS: By the time I got to L.A. I had great "Indy cred" from all the different gigs in Boston from Ben Lee to Letters to Cleo to Jack Drag, so I was looking to relocate and keep moving forward. I have come to become known as a "heavier session" drummer in some circles but I still branch out and keep things eclectic. Sometimes to be labeled as something is a good thing and you become the "go to guy". Bear in mind I went from American Hi-Fi to the Rembrandts to Smashmouth to Chris Cornell so there is definitely a string of pop bands to a wholly eclectic (leaning to the heavy) front man.
DR: Is there a gig you’ve done as a now well-known professional that you’ve thought to yourself, “man, the 17-year-old me would kick my ass for doing this…”?
JS: No but that’s a funny question. I think the ultimate professional session player has to be smart about picking the right gigs but I have no regrets and it’s all been great music so far and helped get me to where I am in my career which I am very happy with.
Sometimes you have to take the gig to work for work sake or to push yourself to grow as a musician. I've spent a summer dressed like Evil Knievel when I was in college playing big band at Disney in front of the Magic Castle and as "goofy" as it was, it was a growing experience.
DR: What are your thoughts on drum clinics?
JS: I think they are great. I don’t really go to them but going to see Alex Van Halen on this last tour or Thomas Pridgen with the Mars Volta that’s a drum clinic in itself. I have talked to my old college roommate Jim Riley (Rascal Flatts) about putting our heads (and experience) together and doing a duo drum clinic but we’re both too busy at the moment, I think it could be a riot and educational. Someday.
DR: Here’s the Back to the Future question for you – you’ve got the fully loaded Mr. Fusion, so who would you go back in time to jam with?
JS: Oh man, definitely Zappa, Miles during the early 70s man with the Horn (with Al Foster) or Mahavishnu Orchestra. That stuff still rules and is still inspiring. Also the early Brand X with Phil Collins, check out the track Nuclear Burn, serious.
DR: You are very well educated in the world of music. I’ve come to find in my profession that the Bachelors and Masters has done me… well, I’m not to the point of asking for my money back, but I’m still waiting for the return. Can you tell us a bit about your education and what it has meant to you?
JS: Well I’ve already mentioned some of what I got out of it. I really think it depends on where you go and what you are looking to get out of it. Music school is like a music career in that it is entirely what you make it. In my experience I learned about self discipline and about pushing myself about being super prepared and being able to learn to audition and learn what not to do. Also being exposed to all those fantastic drummers was super inspirational and is where half of what I learned there came from. I just wanted to feel like I had covered it all before I headed out into the world, like my gun was loaded for anything. Also, I received a Music Education Degree which I could always use to teach if times where hard. When I first moved to L.A. I taught for a year at the L.A. music academy with Joe Porcaro and Ralph Humphrey. I don’t think music school is for everyone and in some cases save your money and move to the city you plan on breaking into and start playing and getting out there!
DR: Did you learn you had a mentor as you were going along in your studies, and if so what did that do for you?
JS: I’ve already mentioned my Father and Peterscack and there was also Ed Soph at UNT who was not only a great teacher but a great human being.
DR: It has been said that the definition of a drummer is one who hangs out with musicians. Obviously by guitarists… What is your response?
JS: Drummers rule, we all know it! We have way more fun than anybody else and have our own secret society. I have all my boys’ backs out here in LA and all over the country. We are a tight knit group. If a drummer can pass a gig along and help out a bro he always does. There is not another instrumentalist you can say sticks together like us (especially guitarists).
DR: Given your nature of soaking in different genres, I imagine your kit setup changes between tours. Can you tell us about your current setup, and what kind of changes took place between your last touring gig and now?
JS: I started using a 26x14" bass drum for the Cornell gig as well as a 13x10" rack and two floor toms which was new for me but for this gig I found that by adding a drum and 2 more crash cymbals on either side (4 crashes total) it made playing a lot of the drum parts easier. I also started using chrome over brass Ludwig snares with die cast hoops exclusively.
DR: Given the dynamics of live versus studio sound, what is it you’re looking for across your kit – cymbals, toms, kick, snare – in the two different situations?
JS: In general, a good even musical difference. In other words two crashes that blend together but are of two distinct pitches. Same with the toms but that depends a lot on the music. In general I tend to use bigger size drums and tune them tighter a la Bonham or Van Halen. Almost a jazz like tuning on the toms. I don’t really approach the two situations differently. Live I will tend to tune my snares up a bit where in the studio generally a deep brass snare with 40 strand snares and die cast hoops can sound amazing and be pretty versatile when cranked low. I use all PAISTE Alpha crashes live with 2002 15" sound edge hats with a custom heavy top and a 24" 2002 ride. In the studio I will often use a 24" giant beat which is softer but musical and full and PAISTE signature or dark energy crashes with an occasional 2002 19 or 20" crash. Interestingly I've found that I find myself bringing less gear to sessions than ever before and am using the "house" kit more and more in the new wave of studios. I will usually bring a few Ludwig snares( 6.5 and 5" Black Beauties vintage and new and the old standard Ludwig Superphonics) and cymbals but am surprised how many studios have nice vintage Ludwigs that they use for everything.
DR: What’s been the most recent evolution in gear that’s made you say, “wow!”?
JS: I’m blown away by Hansen Futz Practice Pedals and recommend them for warm ups. It’s amazing how much of a difference it makes before a show. Also I think the "Stand Firm" straps for locking down hardware and marking where it goes is an ingenious design by my old tech Jake. Also the new Ludwig Legacy drums are truly fantastic and inspiring, I will be taking out a brand new green sparkle set for the Projekt Revolution tour with Linkin Park this summer so come out and say hi and check it out.
See you on the road. Cheers!
Many thanks to Jason for taking the time to answer our questions. If you get the opportunity go check him out on tour this summer!
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