A Quote by Pat Mastelotto

My drumming is always an experiment. — © Pat Mastelotto
My drumming is always an experiment.
I thought of Gene Krupa's drumming, his staccato drumming. I went and put 'Misirlou' to that rhythm.
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.
I guess I did make my name out of my drumming, and I have the big drum sets, and I'm doing all these crazy, odd-time signatures, so, yeah, I guess drumming was very important to what made me popular.
Because drumming was recognized as an ancient source and symbol of the power of female technicians of the sacred, drumming was banned. Henceforth divinity was to be exclusively masculine. The suppression of women was directly linked to the suppression of the goddess.
To learn anything other than the stuff you find in books, you need to be able to experiment, to make mistakes, to accept feedback, and to try again. It doesn't matter whether you are learning to ride a bike or starting a new career, the cycle of experiment, feedback, and new experiment is always there.
Experiment is actually doing the art. That's the experiment and then you get to experience the experiment.
I've always seen my drumming as lyrical anyway.
Experiment - exercising to see the result. We planned Europa not as an experiment in this sense but as a work of art. Yet The Eye and the Ear was done as a consciously designed experiment. Not every avant-garde dealt with experiments and not every experiment equalled avant-garde.
There is no blood in jazz drumming, and there are no bullies in jazz drumming.
The value and utility of any experiment are determined by the fitness of the material to the purpose for which it is used, and thus in the case before us it cannot be immaterial what plants are subjected to experiment and in what manner such experiment is conducted.
They're always saying I'm a capitalistic pig. I suppose I am. But... it's good for my drumming.
I have always attached great importance to the manner in which an experiment is set up and conducted ... the experiment should be set up to open as many windows as possible on the unforeseen.
Indeed, while Nature is wonderfully inventive of new structures, her conservatism in holding on to old ones is still more remarkable. In the ascending line of development she tries an experiment once exceedingly thorough, and then the question is solved for all time. For she always takes time enough to try the experiment exhaustively. It took ages to find how to build a spinal column or brain, but when the experiment was finished she had reason to be, and was, satisfied.
I see my whole 20s as a massive experiment. So were my teens. I think the problem is that we're not encouraged to experiment; we're encouraged to decide and choose, be singular and focused. You can't be that until you experiment. You don't know what's going to work until you try it.
One thing that's always been important to me is to try and build a tool kit, drumming-wise, that was diverse and wide-ranging in terms of what I played.
No one believes an hypothesis except its originator but everyone believes an experiment except the experimenter. Most people are ready to believe something based on experiment but the experimenter knows the many little things that could have gone wrong in the experiment.
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