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| The Kenwood Dennard Interview Part 1! |
| The Prospect of interviewing Kenwood Dennard has been very appealing to Me, knowing that Kenwood is certainly one of the most talented, intelligent, and energetic drummers in the world. With a list of recording and touring credits that reads like a musical encyclopedia, including stints with Sting, Brand X, John McLaughlin, Vanessa Williams, George Benson, Miles Davis, Herbie Hancock, Dizzy Gillespie, Luther Vandross, Jaco Pastorius, and Chuck Mangione among literally hundreds of others, Kenwood is most proud of the fact that he is not only an alumni of the Berklee College of Music, he is an associate Professor of Percussion there now! Kenwood was happy to take the time out of his hectic schedule to begin answering some questions. Please stay tuned for the rest of this interview...coming soon! I hope you are all prepared to learn something about drums, because the professor is in! |
| Q: Kenwood, You obviously have worked very hard to get to the point you are at through extensive education and practicing, and you hold a degree from Berklee University. As of 1996, you were appointed as Associate Professor of Percussion at Berklee, and You have taught at Long Island University, as well as giving private lessons. What was it like to be accepted into Berklee and how did it change your life and perspective of drums and music? A: I was HONORED to be accepted into Berklee. Berklee represented my highest musical aspirations at that time. I had applied to a few other colleges, but I didn't really want to go there. My mom wanted Me to go to Julliard and My Dad wanted Me to go to Berklee. The both supported my desires 100%! When I got accepted, I took an audition with Gary Burton, and off I went into unfamiliar territory! Acceptance and the subsequent Berklee experience changed My life by giving Me the real experience of developing how I had dreamt of developing. This was in kepping with Berklee's motto of "To be, not just to APPEAR to be"! Q: Being in such a hands on position in Berklee, You have seen the art of drumming evolve from Your time as a student to Your time now as an Associate Professor. How much has drum teaching and philosophy changed (if at all) since You were a student? A: Drum teaching has progressed remarkably. When I first started studying, it was with Willie Kessler on 48th street between 6th and 7th in Manhatten in 1965. The state of drum lessons was centered around marching styles and Swing, Lindy, Hop Jump and Beguine, etc... Willie Kessler was excellent. I started teaching in 1967 at the request of a Gentleman who was quite a bit bigger and stronger than Me, so I didn't dare turn him down! I taught by rote. I used a process which I have refined into something I call Apprentice Practice. Essentially, it's kind of a "monkey see, monkey do"approach, but it works! Subsequent drum lessons I took were with Cholli Simons. Another consumate professional with very high standards. He taught Me "Cherokee" and other be-bop material. All along, the rudiments have been essential, and they continue to be, even at Berklee. Once I was at Berklee, more emphasis was placed on rounding out my education on other instruments (though I was fortunate to have started off on piano) and emphasis was placed on ear training. I learned how to read drum charts at Berklee, and the approach of my two teachers, Alan Dawson and Gary Chaffee, was very intensive and focused on virtuosity and reading. Nowadays, things have evolved greatly. The level of student ability has widened. There are lots of not so good players studying today, but there are also some incredibly advanced students that have the advantage of history. The lessons too cover a much, much wider range of subjects. Afro Cuban Merengue, Reggae Jazz Roc. Other teachers seem to be sharing my ideals to be on top of the concrete neccessities of our day, and I continue to innovate and inspire as best as I can in my unique approach to coordination and improvisation! Q: The Frog Story from Your site is one of the best metaphors I have ever read, and it really kind of hit home for Me because I can really relate to it. You must really have a great rapport with Your students. Can You tell Me what the agenda is like for a typical class session? A: Sure: 1st Semester, we work on basic styles and snare drum reading and rudiments. 2nd Semester we do more hip styles and harder snare pieces using a classical approach. 3rd Semester we stress more improvisation and singing and musicality, and more time feels and signs. 4th Semester we concentrate on drum chart preparation and more technique, etc... A typical lesson is half an hour like it was when I studied with Alan Dawson, so I have learned to stay in focus and in high spirits! |
| Kenwood Circa 1977 |
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