Simon Phillips likes big drums – and lots of them.
His double bass drum set and generous cymbal array is a throwback to powerhouse fusion drummer innovators Lenny White and Billy Cobham – both sometime Tama endorsers (Billy Cobham is a current Tama artist), renowned for playing left-hand lead.
As a right-handed drummer, Phillips developed his signature open-handed technique by watching Cobham and White on stage in the ’70s.
Here, Phillips explains to MusicRadar how it all happened.
Was learning left-hand lead a deliberate decision?
“Well, it was a physical scenario, too, because in 1974, I started playing double bass drums. And, I also used two rack toms and two floor toms. I was always fascinated by these large tom-tom setups. Like, the Ludwig Octa-plus [8 suspended toms with additional floor toms], ‘How does that sound, you know?’
“So, I got a chance to use a Ludwig Octa-plus on my first visit to New York City. At that time, I was touring with a blues singer, and they had to get me a drum kit, so of course, I wanted an Octa-plus, which I couldn't use, because the clubs were too small, but I rehearsed with one of these kits, and it was just stunning.
“And that was it. I converted to a multi tom-tom setup. I loved the tonality. So I added an extra rack tom, which now was three racks, two floors. And I saw Billy Cobham play around the end of 1974, and I saw his kit. He had four racks – and it just looked and sounded so amazing.
“I was like, ‘That's what I want to do.’ But I also noticed he was playing left-handed. I was like, ’What is he doing? Oh, wow!’
“So, beginning in 1975, when I was in a band called Chopin, I added a fourth rack tom. In those days, it would have been a 12-inch tom, because we couldn't get 10-inch tom, unless it was a single headed concert tom. And the problem with having all these toms was using the hi-hat. How do I fit it in, playing right-handed?
“And so I took the hi-hat off, and I set the drum kit up the way I wanted it to look. Remember, I was 18 years old. Looks are very important.
“And I thought, ‘Right, now, what do I do with this hi-hat?’ So, luckily I had a second hi-hat [stand]. I got a hacksaw, and I chopped it down, and put the hi-hats down [lower], and went, ‘That's brilliant!’
“But – there's one problem. I can't play my drum kit anymore. How am I going to do this?
“And then, we were touring, supporting Return To Forever. I saw Lenny White play, and I thought, ‘He's playing lefty too. What is this?’
And so…
“I decided: I’m going to learn how to play left-handed. And then I went back to doing session work, which was all disco in 1975. Pretty simple. So I started setting my hi-hat a bit lower, but I still had a right-hand ride cymbal, and I started doing all these sessions left-handed.”
Going forward, you played the hi-hat primarily with your left hand?
“Yeah. It just kind of went from there. When you're 18 years old, you can do anything. Now, though, it was hard to use your right hand to cross over with all the toms. It was just awkward, because it meant your hi-hat had to be high, and your tom-toms had to be high, and it didn't look very good. I did it all for looks, actually. I just wanted it to look cool!”
You play left-handed patterns so effortlessly and naturally for being right-handed.
“Yeah, well, that's basically it. Also, it's really important if you're playing straight ahead, too. You've got to have that tone, and you've got to have that dexterity. Now, I would say still that my right hand is stronger, and also, that's how I started playing straight ahead. So, there's an in-built kind of thing, even now.
“If I play jazz, like bebop, I use a small kit, and I have good ride cymbals, because a lot of it is right-handed, because that's what feels very natural. But I still have a certain amount of control with the left hand, so I can do that. I can play left-handed.”
So you can swing left-handed, too?
“See, that's the important thing, that's the delicacy that you need to have. But it's not just the tone – you've got to have the touch. It's all in the touch that gets the tone out of the cymbal.
“It's not just playing the beats, it's getting the tone and all the different sounds you can get out of the hi-hat. Very important.”
Your descending single tom fills using only your right hand is kind of a Phil Collins style. You’ve stated that leading with your left hand on either the hi-hat or ride cymbal also allows for unbroken tom fills integrated into the groove with your right hand.
“That's true. You know, it doesn't break up the groove. But I had to saw down the hi-hat tube, because I had these concert toms, and the tube was right up by the drum head.”
Jazz drummer Ralph Peterson used a technique for maintaining fast ride cymbal patterns by controlling the stick rebound with a torque action of the wrist.
“Yes, definitely. That's kind of a French technique. I have a friend who is an incredible keyboard player, and he's also a mallet player, but he plays drums, and he uses that technique. It's hilarious. I'm like, ‘How the hell do you do that?’
You are a talented keyboard player and composer. Drummer Gary Husband is also an accomplished piano player and plays keys with John McLaughlin. Have you ever thought of a project where you focus solely on your keyboard playing?
“Well, on my first album, Protocol, I played all the instruments. And I guess this is the problem with the advent of the sequencer. I kind of gave up playing. So, I just do little runs here and there, a few chords, and, I have to do it very slowly, and short bits at a time, but I get out what I want to do. I mean, I do all my own demos.
“I'm working on new music right now for the next Protocol album. Yeah, I've got to get in the studio and get going on that.”
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