Interview with Seven-Time Grammy Winner Paul Wertico
We had the honor of speaking with Paul Wertico about his improvisational approach, the evolution of drumming technology, and the art of leading a band. His insights into music, education, and staying inspired prove why he’s a true legend behind the kit.
Hailed in the press as “One of the most versatile and musical drummers in music today,” Paul Wertico was a member of the Pat Metheny Group from 1983 to 2001.
During that time, he won even Grammy Awards (three for Best Jazz Fusion Performance, three for Best Contemporary Jazz Performance, and one for Best Rock Instrumental Performance), won numerous magazine polls received several gold records, and played drums & percussion on David Bowie’s hit recording (with the Pat Metheny Group), “This Is Not America”.
Magesh, Musicngear: You received multiple Grammy Awards for your work with Pat Metheny in the jazz fusion category. How much of your drumming was improvised on those albums?
Pretty much all of it. I never worked out any of my drum parts on those albums, and I basically just responded to the music in real-time as I played it.
That’s why it’s a bit pointless, and somewhat misleading, to transcribe my “official” drum parts, because they’re always changing.
In fact, even when I played a repetitive type of groove like “Last Train Home” I would still always subtlety vary things like the dynamics, the accents, etc.
Musicngear: When you started the Paul Wertico trio, were there a lot of hats you had to wear that went beyond being a great musician?
I love being a band leader because I have musical ideas and concepts that seem to be different from what a lot of other musicians have in mind.
For example, some of the ways my trio performs compositions that were written by bassist Eric Hochberg, such as “8x12” and “Testament” are completely different than the original way he conceived them.
Also, being a band leader required me to learn about a lot of things outside of playing the music itself, like the many aspects of the music business and the personal/business responsibilities of being in control, such as making sure everyone in my trio was paid, signing contracts, building relationships with promoters and club owners, doing interviews, etc.
Plus, to present one’s music in the best way possible, a band leader should also be able to speak engagingly on the microphone and build a strong connection and rapport with their audience.
Musicngear: You are also a very respected music educator. Do you feel the rise of technology affected people's attention spans when practicing an instrument?
Although some people’s attention span has been affected by the sheer volume of available information, I actually like having so many things available for students to reference, since there are many things that can enhance what I teach my students in-person.
Students just need to be selective in what they choose to watch online, so they don’t waste valuable practice time watching things that may be “incorrect” and can therefore impede their forward progress, or waste time viewing things that can just distract them from using their time efficiently.
Musicngear: You must have seen how drum machines affected the session scene in the 1980's. What are the positives of today's technology when it comes to drumming?
I think drum machines are just another useful tool that allows us to create new things. It’s obviously not a good situation for drummers when they’re replaced by machines, but I enjoy playing with drum machines, sequencers, etc. because I use them to enhance what I’m doing, and it frees me up to play my parts on top of, or in conjunction with, the parts the machines are programmed to play.
It’s all about the way we approach and apply technology. I feel it’s better to use it creatively and to free us up, as opposed to fearing it and therefore possibly being replaced by it.
In fact, some of the songs I played in the Pat Metheny Group had me playing along with sequencers, etc. It was almost like one of my “jobs” in the PMG was to “humanize” the machines we utilized.
Musicngear: So many people learn to play an instrument today by watching YouTube tutorials. What aspects of learning to play music do you think you need to do in an ensemble?
Everyone in an ensemble has many responsibilities, such as thoroughly learning and understanding the music, skillfully executing their individual parts, being a good team player, bringing in new ideas and positive energy, and listening to each other, both musically and personally, in order to make the overall musical experience/product successful.
It’s really like a team, where each player in the team has their respective roles and the team is only as good as its weakest player.
Also, everyone must realize that an ensemble is about “we”, not just “me”, so everyone’s parts, both big and small, are equally important in contributing to the ensemble’s overall success.
Musicngear: What projects are you currently working on?
At age 72, I’m as busy as ever. In addition to being a tenured Associate Professor of Jazz & Contemporary Music Studies at Roosevelt University’s Chicago College of Performing Arts (my 22nd year there), I’m performing concerts and conducting clinics & masterclasses locally, nationally, and internationally.
In November 2024, Dream Cymbals released my new line of signature flat ride cymbals, the 20” & 22” Bliss Wertico Ride.
Some of the latest released recordings I’m on are: “Paul Wertico’s Drum Without Boundaries”; “Marbinico” (Danny Markovitch, Dani Rabin & Paul Wertico); “Congroovance” (Howard Levy & Johnny Frigo); and “Tuxedo Man” (David Becker & Paul Wertico), as well as the upcoming releases by: guitarist John Moulder; Wertico Cain & Gray; bassist Frank Russell; The Fareed Haque, Larry Gray & Paul Wertico Trio; pianist Niels Lan Doky; Galassio (Lefteris Christofis, Arild Andersen & Paul Wertico); and a number of Italian artists who have sent me music to either record in Italy when I’m there, or to add/record my drum tracks here in my home studio.
I also just had a wonderful weekend playing at the legendary Chicago venue, The Green Mill, with the Sheila Jordan Quartet (featuring guitarist Roni Ben-Hur & bassist Harvie S). Sheila is 96 years old, and she was amazing and a total joy to play with!
Lastly, I also keep very active both physically and overall health-wise, so even at my age I think I’m in the best shape I’ve ever been in in my life!
Connect with Paul Wertico
Website // Facebook // Instagram
Dream Cymbals - Wertico Ride
About Magesh Magesh
Magesh is a musician and producer who has worked with Rihanna, Lionel Richie, Ricky Martin, Chris Brown, The Pussy Cat Dolls, Nelly Furtado, and Vernon Reid of Living Colour.
He released an instructional drumming DVD called "Unique Beats" where he mixed the drum kit with electronics and Indian hand percussion. He recently moved from Australia to the UK to explore new musical opportunities.
Website: mageshdrumteacher.co.uk
Contact Magesh Magesh at magesh.magesh7@gmail.com
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