The kit often helps push me in a direction. It could be the worst sounding kit ever, but you’ve got to make music and get inspired, even if it’s not what you’re used to.īecause I don’t have a set plan, and the drums are really just sounds, you can explore and have fun with it, I mean why does it have to be ‘my sound’ or even a regular drum kit? After I’ve listened to the demo or the artist playing the song, I quite often imagine who I would use on the track if I were producing.
It’s still like that in London and in New York. There are always house kits in jazz clubs and most drummers tend to use them. Another reason might be playing in jazz clubs. A lot of L.A session drummers do exactly the same thing. I’m not really sure where the idea for using different kits came from initially, I’m certainly not the only person who does that.
In the studio it’s a different story – whatever the music dictates. When I’m touring it tends to stay the same. Now most drummers like the familiarity of using their own gear, but you once said you very much enjoy it if it’s not your own kit.
I caught up with Jeremy at the UK Drum Show to talk about his way to keep his busy career fresh and interesting, the challenges of the gig King Crimson and his extensive passion for drum gear. Having spent the last few years mainly on the road with Noel Gallagher’s High Flying Birds, Jeremy joined King Crimson’s 3-piece drum section, reinforcing Gavin Harrison and Pat Mastelotto, a year and a half ago. Over the years he has recorded, gigged and/or toured with the likes of Ryan Adams, Sheryl Crow, Steve Wilson, Mary Chapin Carpenter, Neil Diamond, Tom Jones, Ethan Johns, Eric Clapton, Paul Young, Robbie Williams, Gary Barlow, Sia, Zero 7, The Finn Bros, Chris Robinson’s New Earth Mud, Jason Rebello, Echo and the Bunnymen, Madeleine Peyroux, and many, many more! As one of the UK’s top session drummers Jeremy Stacey’s long lasting career has filled his CV with some of the biggest names in the music business.
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