Inside the Star (of Indiana): an exclusive interview with Clark Gardner
image courtesy of: Star of Indiana
Rüdimentality is proud to present: an exclusive interview with Clark Gardner.;)
Clark was the Percussion Section Leader of the 1993 Star of Indiana Drumline that was awarded the High Percussion Award at DCI World Championships in Jackson, Mississippi. He had performed with Black Gold, Sky Ryders and Brass Theater/BLAST!, and has taught at Klein High School (Houston, TX), and Brass Theater/BLAST!. Clark was also the program consultant for the Santa Clara Vanguard Cadets (Santa Clara, CA) in 2008 and currently consults and arranges for UnikStar Percussion Ensemble (Lille, France), and Kadoudal Drum and Bugle Corps (Quiberon, France). He is endorsed by: Avedis Zildjian Cymbals, Pearl and Adams Percussion and Evans Drumheads and drums for the Los Angeles-based rock bands Open Hand and Core.
The interview includes questions submitted by the Drum Corps community (via SnareScience.com, Drumlines.org, DrumCorpsPlanet.com forums and Rüdimentality.com) and from the staff of Rüdimentality. Similar questions were consolidated to avoid repetition and are broken into categories in (somewhat) chronological order... Enjoy!
Pre-Star
1. When did you begin playing percussion and how did you become interested in Drum Corps
Rüdimentality
I began playing drums in 2nd grade. I had a private teacher (Sam Murray) for two years and later took lessons from a GA at Wichita State while in 6th-7th grade. My band program, as most in KS at the time, was not at all advanced, especially in regards to marching band. Fortunately, I attended a marching percussion camp where I saw my first DCI show. Coincidentally, every corps that I ended up marching with performed at that show.
2. (What is your) Previous marching background?
Alex McKinley, Utah
I was section leader when I marched at Black Gold in 1988, marched Sky Ryders 1989-1991 (section leader ’90-’91), followed by Star of Indiana in 1992-’93 (section leader ’93). Lastly, I performed in “Brass Theater” for the first two seasons.
3. What was the biggest difference between marching with the Sky Ryders and Star of Indiana?
Rüdimentality
The biggest difference that I was immediately aware of was that at Star, I remember a brass player actually taunting the drumline by asking us “when are you guys gonna win a trophy?” I had never been in a corps that had such a great hornline. The strength of Black Gold and Sky Ryders when I was there was the percussion section, so I wasn’t exactly used to that kind situation…..although it didn’t take long before we took care of getting that trophy. Also, Sky Ryders tended to be very emotional, whereas Star in ’92 was much more mechanical. I think we developed a great combination of both elements in ’93.
On Star 1993 (drumline specific)
4. Did Clark play on the Premier drums before the switch to Pearl in '93? If so, how did he you like the change?
Rusty, DrumCorpsPlanet.com
Yes…we used the Premier drums in 1992. (I also had used Premier with Sky Ryders in 1989 and Black Gold in 1988.)
At some point, I have used Premier, Ludwig, Yamaha, and Pearl Drums. (I’ve also instructed groups that used Dynasty and Vancore). The Premier snares sounded great in ’92, especially with the mylar heads and Falam bottoms. When we switched to Pearl, the most noticeable difference was in the tenors and bass drums, although I also love the snares - It sounded like we added at least two extra tenors and the bass drums had a noticeably richer tone. Without question, I preferred Pearl drums. (I am now extremely fortunate to be a Pearl endorser, btw. I’m not the kind of guy that takes endorsements lightly…..there are a number of companies that have offered endorsements to me, and I have refused because it’s not what I prefer. I consider myself extremely fortunate to have exactly what I want in terms of drums, sticks/mallets. heads, and cymbals. Zildjian, Pearl, Pro-Mark, and Evans have been fantastic for me.)
5. What were your day to day responsibilities as Percussion Section Leader?
Rüdimentality
That’s an interesting question….really, just anything I could do to make us better. I was always just a natural section leader – nobody ever really gave me a list of “responsibilities”. Knowing the schedule/understanding what needed to be focused on musically/visually. Often, it was up to me to keep things in check musically during “visual/marching” rehearsals, since the music staff may not have been around. That time was great, since it allowed me to direct focus on things that the staff had prioritized, or to fix some things that may have been neglected at some point.. Sometimes it could be something as simple as making sure that “certain” guys woke up and got to the field!!! I (and others) spent a lot of extra time with a snare drummer who was a late addition to our line in order to get him caught up.
6. What in your opinion makes a good (section) leader?
Rüdimentality
A good section leader has to be a liaison between the members and the staff. It was up to me to be the example to the section whenever something may have presented itself that could take down the level of effort, morale, or commitment of the line. Sometimes it was playing good-cop/bad-cop to the staff. I had to know how each guy reacted to various things or situations in order to help/motivate them. In an ideal situation, you are essentially an instructor that happens to be in the line. It takes a lot of trust from the staff and a great deal of respect from your fellow members to get to that point. I was fortunate to have an amazing staff and great members.
7. How did your role as section leader impact your relationship with the other drumline members? With the staff?
Rüdimentality
Generally, there weren’t any “notable” issues in this regard. I think that the guys in the line had 100% trust in me, and I always felt the same trust from the staff. To be truly effective, you’ve got to walk a tight line sometimes. If you’ve got the reputation of always having your stuff together, it makes it considerably easier when dealing with either the staff or fellow members.
8. As Percussion Section Leader you were responsible for making sure every single member was on their grind; however, if someone wasn’t carrying their weight, what sort of “motivational techniques” would you or the rest of the drumline use to encourage them?
Rüdimentality
It would always depend on the individual. To accomplish this, you have to get to know people and understand how they react to criticism and/or receiving assistance. That’s a huge part of being a great section leader as well as understanding what it takes to be a great teacher.
9. What was your reaction (and the drumline’s) to the ‘93 book when it was passed out? Were there many “what the hell is this” thoughts? How did Hannum introduce the book to you? Did you guys have to be “sold” on the heavy “quality” approach? Same question for the show concept...did it have to be explained thoroughly and was it initially a tough sell by the staff?
Alex McKinley, Utah
Loved it right away. There were a lot of guys in that line that had either already marched at Star and played some of Thom’s writing and there were a number of guys that attended UMASS and of course, also knew what to expect. The “Quality of Sound” issue is inseparable from playing Thom’s music, in my opinion. (After marching Sky Ryders, I originally thought that I wanted to march at the Cadets…..I even went to the first camp there in ’92. After some thought, I realized that what I had grown up liking about the Cadets was really Thom’s writing and his attention to detail in terms of always achieving the best sound possible. Once I realized that, I was on my way to Star of Indiana.)
10. Did it take long for the DL to “get it” and when did the book become fun?
Alex McKinley, Utah
Well, it was always fun to play that music! In terms of “getting it”…that depends on the section of the show. The opening was fairly straight forward and likely took the least amount of effort. There were some timing things at the beginning of the Bartok that were very difficult to achieve, one of which most people would never realize. It occurred during a very soft section where there were extremely isolated attacks from the brass and battery with quite a lot of space in between. “Dutting” would have spoiled the moment 100%. Overall, I’d say that the area that ended up changing the most was the Bartok….a lot of that segment was at very low levels, and our level of expression within those levels greatly improved throughout the season.
It was extremely fun during the very last week. Some of the staff would later admit to basically “making up” errors in order to “keep us on our toes” (We knew what they were doing anyways!). As performers, we were inclined to think “So you want to hear that perfect, again?”. I remember telling our battery guy, Brent, that he may as well go do something else because there wasn’t anything for him to do at rehearsals anymore.
11. Is it really true that you guys didn't play over mezzo until the closer?
UHSnare45, SnareScience.com
No, not true….although kind of an amusing question! There were some fairly high volumes at the end of the opener, and even in the last part of the Bartok, but I guess if you compared that to what we did in “Medea”, it may have not looked like much in retrospect! There was certainly a lack of sustained volume for a prolonged time in the beginning of the program – it was definitely not a “typical” drum corps arrangement.
12. Did the amount of space in the book create any challenges in marching between the hornline and the battery?
Martian, Snarescience.com
Actually that would be backwards. The marching and timing of our feet was precisely what allowed us to successfully control the amount of space. We played together as an ensemble based upon putting our feet with the drum major. Once that was confirmed (and when appropriate), we could determine when it was necessary to play ahead of his hands in the case we were located in the back of the field, or listen back to a particular area that had an already established tempo. etc. (That’s an extremely simplified explanation). For instance, in order for the battery to enter in time with the brass at the beginning of Music for Strings, Percussion, and Celeste, I anticipated the drum major’s tempo by nearly an entire eighth note. You basically just get used to what needs to be done in a given situation and it becomes second nature. I’m very glad that we were able to minimize “dutting”, and never had the whole line “dut”. It would have ruined that show, and I personally don’t believe that it’s so necessary. There were many places where we just could not do it – you had to just trust guys to pay attention 100%. Every person had to be accountable for interpreting the tempo. (I personally think that it’s not at all musical and an insult to performers to have every member “subdivide” during tacets……even worse when they still don’t attack together.)
13. How many times did you guys use red's rhumba?
Timartin, Snarescience.com
That’s difficult to say. We did not play it at most warm-ups. Mostly, when we warmed up, we were honestly probably extremely “boring” to watch. We were focused on making our(fairly standard) exercises sound perfect, with a perfect quality of sound. We weren’t ever concerned with showing-off. We did play it at PASIC later that fall, and it was pretty amazing how well we were able to perform it after a few months off. I think we were also the first drumline to ever “track” during warm-ups…at least for finals. It was pretty hilarious to watch the people who were actually trying to check us out. They were completely surprised by what was going on. People used to laugh at us for using a metronome at our warm-ups. We were definitely not on anyone’s “to do list” in the lot that year. I think there were some people who would try to see us….but we also seemed to warm up in some “remote” locations….so if someone actually saw it, they probably really wanted to do so.
14. With such aggressive playing, how many drum heads did they go through during the season?
Rusty, DrumCorpsPlanet.com
Rarely were any heads broken due to playing. If you play with good technique, you won’t break many heads, no matter how hard you play. Mostly, we would change heads when they began to noticeably lose tone, or a few days in anticipation of the larger regional shows/finals.
15. IIRC, the bass line was doing crazy hard stuff throughout the show - the drill would split the line up, putting bass 1 on side 1 and leaving the rest of the line some yards away on side 2, and the whole time they would be doing ridic runs. Was that planned going in, or did this just evolve mid-season? Just seems to me that, as much attention as the snare line gets for being so spotlessly clean, that the basses were and are kind of the unsung heroes of the '93 battery.
Rusty, DrumCorpsPlanet.com
Thanks for noticing them! I’m sure that they would appreciate hearing your comments. Our bass line was fantastic, and very likely, underrated. They made some really difficult things look and sound easy. , I’m fairly certain that the drill that you are speaking of was in the “Dance” from Medea. In that case, there were two different motifs going on which involved different parts of the bass line, so they were separated accordingly.
16. For "Medea", four members of the pit joined the battery on-field playing (I think) toms. Again, was this a mid-season thing? It was a very subtle thing - maybe there was something intentional they were trying to accomplish with this move?
Rusty, DrumCorpsPlanet.com
No…this was a plan from the very beginning and 100% intentional. They were used to generate the ostinato that occurs in Medea’s Dance of Vengeance. It consisted of sets of lower-tuned quads as well as sets of double-headed toms (known as “Flubs”) along with part of the bass drum line. Thom had also previously used this sort of configuration with the Cadets, particularly in 1986’s “On the Waterfront”.
17. Is there anything you would have changed about the 93 season?
Martian, Snarescience.com
I wish that a better finals recording existed…(the official one suffered due to a great deal of phasing between the microphones). I selfishly wish that I could have watched/listed to us in third person…..otherwise, no regrets. No matter the result from that season….looking back, there was not one thing that I could have questioned or desired to have a second chance at. We left it on the field every day.
18. How do you think the 93 drum line would do in competition against todays top lines?
Martian, Snarescience.com
We would absolutely hold our own. We played a different kind of book than what some groups are doing now, but the guys in that line would have been capable of anything that’s currently going on.. It’s kind of a different time, and some things have changed, but I would go to battle with those guys any day. It’s difficult to compare things like that…..I’ll never even say that we were “better” than some of the epic lines that came before us, because at the time, they really threw it down, and were full of great players, just like us. Having said that…I haven’t seen anything since that we couldn’t have done.
19. Why do you think that the percussion section is considered one of the best in drum corps history?
Timartin, Snarescience.com
Firstly, I think it had a lot to do with our attention to detail and quality of sound. I can’t begin to tell you how many people have asked me about the tuning of the drums, the heads, the sticks, etc. – all trying to figure out how we got the sound we did. We weren’t using anything that anyone else couldn’t get - we just made the most of it. We played at the most extreme dynamic levels imaginable, and I think that we opened the door to what people may have even thought was possible in terms of that. In addition, we were doing it while dealing with some unprecedented demands in terms of marching. Finally, there was a just visceral and emotional element that you could just sense when you stood in front of us that not many lines have ever achieved. From day one, there was just something special about it – a long-time friend of mine, who marched in some of the best Blue Devils lines ever (mid 80’s), later remarked that upon seeing us two weeks into the season (in Florida), that we had ”already locked up the drum trophy”. Having a guy that marched in such great lines say that to me was extremely humbling.
;)
On Star 1993 (show design)
20. What was the vibe among the corps members about Medea? Did they realize how legendary/game-changing that show would become? And did they sense how controversial the show was among the activity during the season?
Rusty, DrumCorpsPlanet.com
Yes…I think we knew that to a degree going in, but I don’t think anybody expected it to be viewed as it is now. I remember watching one of the first high-cam videos and it was really easy to see how different it was.
In terms of controversy during the season, those of us that were vets had just spent the previous season getting booed for our placement performing a show that contained themes from the Star-Spangled Banner, etc., so “controversy” was nothing new to us. We really made some people angry in ’93 though…..I remember people at shows literally screaming obscenities at us. I swear one guy followed us around to shows in the NE just to heckle us. I thought it was fantastic! As a corps in ‘92, we sometimes took the crowd response (to us winning shows) personally. In ’93, we didn’t care what anybody thought about us. We knew it was going to be great and nothing else mattered.
21. In Bill Cook’s recollections on the Star of Indiana website, he writes: “the music was to be arranged to enrage and anger. It was not supposed to be sweet and lilting [sic].” Was that communicated to the members early on and how did you personally put yourself in that mind-set considering the amount of control and finesse the percussion book demanded?
Rüdimentality
The thing about the show that was most unusual was how it began and developed. When you go out and rip people’s faces off, you go in with a different mindset….you can be very “hyped-up”….you know, giving each other high 5’s at the gate, or whatever, etc. It made no sense to do that with this show. Your approach and mood had to reflect the music, so we were actually pretty calm and laid back before we entered the field. You knew that you were going to totally unleash things eventually, so you paced yourself accordingly. The staff never talked to us about that, btw…..as a performer of that show, I think you just kind of understood that it was different.
22. How did the crowd response change from the first month of the season to finals?
Rüdimentality
I think there was probably a change once we got the cream uniforms, because the show visually made more sense. Otherwise, more and more people would try to find us warming up as we continued to win drums. I think that more people at least ended up respecting the quality of the performance, even if they didn’t like the show.
23. Was there any significance of the scalene triangle visual motif?
Rüdimentality
No….but in a side story, I remember when the designers were experimenting with the scalenes on our uniforms. The first model was this rounded-off purple thing that was, well, not very “threatening”, in terms of how it looked. Fortunately, when they saw it on me, a number of them immediately commented that it “wasn’t going to work”.
24. Did you know that 1993 was going to be not only Star's last year, but the most special and meaningful to so many people in the drum corps world?
Timartin, Snarescience.com
I didn’t exactly know…but I definitely had some idea (that will be answered below). I never expected that so many people would still talk about it.
25. What was the most special thing to you as a member of the most highly prestigious corps' in the world?
Timartin, Snarescience.com
I appreciate your compliment, but I would never refer to us that way….there have been many great corps out there. The most special thing is probably the fact that people still even actually know about that show. I never imagined people would still be talking about it, and I am extremely flattered by it.
26. Would you like to see Star return to the field or would you like 93 to be it's last year competing ever?
Timartin, Snarescience.com
Well, that’s clearly not up to me, but I’m fine with how things ended. The legacy that has been left in DCI by the former staff and members from Star of Indiana is amazing. So many of them continue to teach and influence the activity. As a result, instead of cheering for “my” corps, I can pull for Carolina Crown, Santa Clara Vanguard, Blue Devils, Cadets, Blue Stars, Troopers, and many others. In many ways, that makes it even more enjoyable than having “your” corps around.
On Canadian Brass/BLAST!
Editors note: questions 27-32 are all addressed in the response below
27. What's the REAL reason Star left DCI?
BlackPowerRanger, Snarescience.com
28. Bill Cook has said the letter of intent to do Brass Theater (or some sort of partnership - maybe the name hadn't yet been coined) with the Canadian Brass was signed in June. How much did the corps members know during the season about Star's plans to leave DCI?
Rusty, DrumCorpsPlanet.com
29. Did you know about the partnership with Canadian Brass prior to the banquet? If so, when and how did it impact the rest of your season?
Rüdimentality
30. What was your personal reaction to the announcement that Star would be leaving DCI?
Rüdimentality
31. How were (percussion) auditions structured for the partnership with Canadian Brass (what instruments, who was part of the selection committee, etc…)?
Rüdimentality
32. What was the selection process like for the recording of “Brass on Broadway?” Did you have any hint that something big was around the corner after being involved with that project?
Rüdimentality
Before the corps moved in for the season in 1993, Nick Angelis and I were asked to record a track with the Canadian Brass. We had minimal notice and within a few days, they flew us to Bloomington and then to Tampa Bay to do the recording. That was a really great experience….not only working with the Canadian Brass, but also Luther Henderson, who was a true legend. Anyways, after we were done with the recording, I remember talking with Chuck Daellenbach, who said something that seemed a bit odd to me at the time. In fact, it was strange enough that I absolutely remembered it. He said “We look forward to playing with you guys next year”. Although none of us knew what was going down at the time, in retrospect, I have no question that the decision had already been made before the season began. It all made perfect sense when it was announced at the banquet. The rumors that Star left DCI because we placed 2nd, etc., are completely false. As an age-out, I loved the decision….it took some time to figure out exactly what we were doing in this new genre, but I had a very enjoyable time.
The entire process of camps and auditions changed. In addition to preparing material for your primary instrument, you were also required to prepare pieces for any number of other instruments, including orchestral excerpts, etc. . I really appreciate the things that I was able to learn from Jim Ancona as a result of that experience. It was a very interesting and fun new challenge. The “selection process” wasn’t anything out of the ordinary, aside from the entire staff having maybe a more integrated approach in regards to each performer.
There were a couple of “epic” moments that I remember from the Brass Theater days – During the first season, Michael Boo came to see us for the first time at a show in Milwaukee. At this point, we had figured out that having a traditional “warm-up” was basically pointless, since we didn’t play on battery instruments until 30 minutes or so into the show. Instead….at this venue, we were in the locker room/lounge…complete with pool table, video games, etc. Michael Boo walks in and says, “Well, I was going to ask you guys if you missed DCI, but I think I know the answer”.
That first year, we also played in Avery Fisher Hall at Lincoln Center. Many of the pieces that I performed in were not on the agenda, but I remember how enjoyable it was to sit on that stage and patiently wait to play a few notes on concert bass drum.
Another interesting event occurred at a show that we performed with Nexus. I was on staff at that time, and we were all sitting in the upper deck for the show. During the encore, “Stars and Stripes Forever”, the extra percussionists began unexpectedly pouring out onto the stage with various samba and latin percussion instruments, playing along with the normal arrangement. Some of the staff were glaring at us, but we never expected either. At that point, the guys from Nexus came out as well, which I guess made it “ok”.
On Teaching/Arranging
33. Does your approach change teaching at the High School level vs. the Junior Corps or DCE level?
Rüdimentality
Not at all. I have always relentlessly required performers to be strong individual players with a great quality of sound, who can play in time, and are willing to become physically superior than their competition. There is never a difference of expectation, but it’s tempered with what can be reasonably expected from a given ensemble.
34. If you had to boil it down to one word to describe your approach to each what would it be?
Rüdimentality
Quality
35. What are the biggest differences between the DCI and DCE circuits from a design and performance perspective?
Rüdimentality
I’ve actually spent more time teaching in the EU recently…and I really try to encourage the groups there to do their own thing. They have such a respect and admiration for groups in the USA that I think that they really miss out on some special opportunities, They have so much history and culture to draw from…it sometimes puzzles me why they would choose to just copy an American group……not to mention that their “rules” are a bit more conducive to innovation. I really want to encourage groups in Europe to make something uniquely European..or even better, “national” within the EU. It’s great to see Crown do Mahler….but how incredible would it be to see a drum corps from Germany do that, or a group from France throw down La Mer at DCI Finals? I think that would be incredible!!
36. What, in your opinion are the essential elements needed to create and sustain a performance-ensemble at the highest level of competition (be it in DCI, DCE, BOA, etc...)
Rüdimentality
Consistency of approach and relentlessly high expectations. To have such a program, you have to have very high standards, and you’ve got to be willing to sacrifice some people along the way. Once you compromise your “standard” in order to “play favorites”, or give preference to people who have been there for awhile, you are settling for less than what may be possible.
37. Which is a more satisfying experience for you: teaching or performing?
Rüdimentality
Performing…without a doubt – although I have to say one particular year teaching at Klein HS in Houston, was the most pleasurable teaching experience I’ve ever had. I was fortunate enough to have a group of really mature guys who bought into what I was teaching 100% and they did exactly what I asked of them. They were great the previous year as well, but they matured a little, and really “got it” the following season. To further answer the previous question…..having a group of guys like that is enormous. That year of teaching was so enjoyable that I could never even imagine achieving anything like it again. They honestly helped give me the motivation to move to LA and pursue playing drumset. If I continued teaching, I’d only ever want to recreate that season. It was time to move on to a new challenge.
38. Have you ever instructed with any indoor percussion (WGI specifically) organizations?
Rüdimentality
Not in the USA.
39. Do you feel that Star of Indiana and Blast! contributed to the explosive growth and popularity of the Indoor Percussion activity? If so, what characteristics seem to have the largest and lasting impact?
Rüdimentality
I don’t think so…at all. I think we were too far off the radar in terms of that, and as well….we didn’t really do much that I think could be attributed to having influenced the indoor activity.
40. Do you feel that the evolution of Drum and Bugle Corps (decreased age restrictions, higher membership caps, use of amplification and electronic instruments, etc…) has positively impacted the activity?
Rüdimentality
In some ways, yes….in others, not so much. Without question, the level of performance of the corps that place 5-12 has markedly improved since I marched. With fewer corps to choose from, the talent pool has noticeably increased for the remaining corps. I wholeheartedly approve of front ensemble amplification, and I would make the case that the level of musicianship has significantly improved as a result. Unfortunately, the increased membership caps, etc., have arguably led to the demise of “local” corps…in favor of “supergroups”. Although the talent may have increased among the remaining corps…it is a tough call when you begin to evaluate the importance of tradition and the ease of joining a “local” group. I think that given the current direction of things, it is critical for DCI to engage with BOA as much as they can. It is the only logical means to increase such a typically “inbred” audience.
41. What do you feel is the future of the Drum & Corps activity? (i.e. what will drum corps be in 5/10/20 years? Will it still exist as we know it today?)
Rüdimentality
In order to remain viable, I think it has to change. Right now, the only dependable fans that DCI has are former members and relatives of members. That is not a recipe for success!
42. What was the defining moment of your drum corps career (as a performer or educator)?
Rüdimentality
Rehearsals…..and consciously making every “rehearsal” a “performance”. I never really “accomplished” anything during a performance. Anything that I ever achieved was done so by practicing. The recipe for “success” is easier than most people think, but more difficult than they imagine. If you have the best information and the desire to work harder than anyone else, success is “simple”. At that point, you only have to “want it” more than anyone else. I knew that I was willing to work harder than any other human that season, so success/winning the drum trophy was not surprising.
On Non-Drum Corps Gigs
43. How long have you been playing with Open Hand/Core?
Rüdimentality
Two years with Core, about 6 months with Open Hand.
44. Are there any parallels between your preparation for a Open Hand/Core show and a Drum Corps performance? Do you get the same “rush” on stage that you would get on the field?
Rüdimentality
Absolutely…..many times, even more so. When you play with a band, you can often actually see and interact with your audience. There’s also no other rush like having your drums blasting through an amazing sound system….it’s like you’re the entire battery..
45. How does your work with Open Hand/Core impact your teaching/arranging in the rudimental drumming realm and vice versa?
Rüdimentality
Great question! It has ENORMOUSLY affected my teaching and arranging. As a result of playing more drumset, I ended up teaching my groups to play with a much more relaxed technique than what we played with at Star. I’d consider SCV to be the best example of what I ended up going for. I really admire what they are doing – I think that’s the right way to play a drum.
46. Do you sit in with any other groups or have you considered a solo venture?
Rüdimentality
I occasionally play with other groups (for hire). I’ve dabbled in some things personally, but those ideas aren’t yet ready for “prime time”. Since moving to LA, I’ve been fortunate to perform/record with some amazing musicians…..guys who have played with Marilyn Manson, Tonic, Enrique Iglesias, Carson Daly, Miley Cyrus, Wired All Wrong, Chris Cornell, Linkin Park, etc.
47. What’s coming up next for Clark Gardner?
Rüdimentality
More stuff with Open Hand and likely more time teaching in France. Anything could happen…..
48. If you could collaborate with any musician alive or dead, who would it be and what would that would you do?
Rüdimentality
Well…..had someone told me while I was marching in DCI, that I would one day record drums at Sean Beavan’s (He produced almost all of NIN’s stuff up until Manson came out…and he’s produced most of his stuff since, as well as countless others, in addition to his own band, “8mm”.) house and that he would produce/mix things that I played, I‘d have been really pleased. I remember listening to any number of things throughout the years and it seemed that his name was always "coincidentally" in the liner notes. That already happened, so who knows what may be next?
Miscellaneous
49. Who made your drum covers in 93? I believe they were tie-dye, I might be mixing up years....
Roaminggnome4, Snarescience.com
I can’t say for sure….I think they were from Pearl. Anyways…... thankfully it didn’t really catch on!
50. What is your favorite percussion instrument?
Rüdimentality
Whatever instrument I’m playing at the time.
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You can find more of Clark's work on the web at:
or contact him directly via email
Thank you again to everyone that submitted questions for this interview and of course a huge thank you to Clark for his willingness to engage the Drum Corps community and earnest responses. We are honored to be given the opportunity and wish you the best in the future!
~ Rüdimentality
DCI, Star of Indiana | in Interview
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