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Is Steve Gadd the most influential drummer ever? He's not saying

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"You can't be a copy of somebody else, no matter how hard you try. It's impossible. I've seen people try to copy licks and get them exact, and I can tell they're not playing in a way that's natural or comfortable. That's not what music is all about. You have to develop your own bag of tricks. The worst thing in the world you can do is let your enthusiasm for somebody else's work stifle your own creativity"

Let's talk about the whole concept of being 'in the pocket' of a song. Whenever drummers talk about your playing, they say the same thing: "Nobody gets in the pocket like Steve Gadd."

"Yeah, well, you have to pay attention to dynamics - of the song, of the other players and so on. You can't just think about what you're doing. I've seen so many drummers who have chops and technique that would make your jaw drop to the floor. People are doing some really incredible things. To me, though, I find it just as inspiring on a whole different level when I see somebody who can play a groove and get inside it and make me tap my toes. If you can get people tapping their toes, that's it - you're playing music. Then you can throw in some technical stuff if you want."

You switch between grips a fair amount. Sometimes you use a matched grip; other times you use a traditional grip. Any particular reason?

"Comfort, really. If I'm playing a real heavy backbeat, I find I can sit straighter and hit harder when using a matched grip. If I have to do more technical things, I'm more apt to use a traditional grip. I don't really think about it; it just the way I play."

"If you can get people tapping their toes, that's it - you're playing music. Then you can throw in some technical stuff if you want."

A lot of great jazz drummers can't play rock, and a lot of accomplished rock drummers have no feel for jazz. Yet there doesn't seem to be a genre you haven't mastered. Rock, pop, jazz, fusion, blues - you're right at home no matter what.

"I think the big thing is, I'm always trying to challenge myself. Always knowing that there's something new to learn and a new way of playing in a particular genre or with a certain artist, that's the deal, that's my job. If I'm helping to keep an artist inspired and be comfortable, then I'm going to feel good and we're going to create something together - hopefully."

By a lot of drummers' standards, your setup is quite minimal. Do you find big kits unnecessary?

"When I play with Eric Clapton or Paul Simon or James Taylor, I find that a kit with four toms works out just fine. Any fills that I want to play or sounds I want to produce, I can get them on a set like that. I even wish I could go in with less, but the size of the bandstand and the venue come into play. Really, the amount of drums you have isn't as important as the band playing well together and getting into a good groove."

What would be considered your normal practice routine. Do you have one?

"Not really. I'm on the road so much, and I work a lot, so I don't need to practice when I'm touring. The only times I'll practice are when I'm off the road. Not right away, though - I like to settle down and spend time with my family. Then, after a few weeks, I'll start missing the drums, so I'll go out the garage and work on rudiments and stuff. It becomes a meditative thing: I loosen up, unwind, get in the right mindset. One thing I try to do is not work on too many things at once. I like to take one thing and focus on that. Again, it's a form of meditation."

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