As with any art, you create it [drumming] out of something that isn't there. It's very architectural. It's the architecture of whatever piece of music I'm playing. I think the whole idea of drumming is to allow other people around you to more easily express themselves.
In the early '70s [the late] Ras Shorty and I took Indian dholak drumming [from chutney music, another Indo-Trinidadian creation], fused it with calypso's African rhythms, and soca was born against the wishes of the purists.
I'm glad to always have that connection to a part of the country that doesn't really have anything to do with what I do. That said, there seems to be a lot of production drumming up in Atlanta these days. It would be kind of a dream come true to go back to Atlanta to work on a movie, but we'll see what happens.
I play drums and guitar. My best instrument is definitely drums, so I'm featured a lot on the album drumming. It's pretty futuristic as well.
I am different when my nails are done. I am more dynamic. I gesticulate more, I am better at scaring my staff. I can indicate impatience by drumming on tabletops and I can wrap up a meeting with a few choice clatters.
Egyptian drumming happens to be a favorite of mine. It's a really simple instrument, but it's really difficult to play. You can take it anywhere with you - you can play it in your room, in an airport. It's very quiet, so you explore the quiet side.
My heart is drumming in my chest so hard it aches, but it's the good kind of ache, like the feeling you get on the first real day of autumn, when the air is crisp and the leaves are all flaring at the edges and the wind smells just vaguely of smoke - like the end and the beginning of something all at once.
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