MPS Feature Interview!
Michael French


1. What drum corps were you a part of, and what years did you march?



2. What would you say the biggest differences are between the battery of the Santa Clara Vanguard and the Blue Devils?

Back when I marched, the differences were very pronounced. Ralph Hardimon and Tom Float had been at their perspective lines for quite some time and you could see them in each of their lines. BD and SCV were as different as their individual styles. Technically, SCV played 3's at one height; BD at three different heights. SCV had a flowing motion to the stick, where as BD had a stop and start motion. In 1990, there was a parking lot drum-off between SCV and BD: Mike Macintosh, Pete Sapadin, and Kevin Murphy from BD; Paul Stivitts, Walter Powell, and myself from SCV. We were all hanging pretty well together, but the different techniques were like night and day. With the departure of Ralph and Tom from SCV and BD, and the movement of Kevin Murray from one corps to the other, there has been a blending of technique which, I think, makes BD and SCV look very similar nowadays. They both are playing with great wrist turn and strong heights. They also play with a strength and vigor that is as exciting to watch as it is to listen to.

3. When you were a marching member, how often did you practice in the off-season?

I practiced like a madman! Aside from going to school and doing homework, I practiced. I practiced by myself and drummed with others. When I could, I would get into the hall and practice in front of the big mirrors they have there. I just loved to drum. The more I drummed, the better I got and I really liked that. I wanted to drum stronger and faster all of the time. It became addicting. By 1991 my chops were ready to go anytime, day or night. No warm-up needed. Some of the guys said I had "Gumby" chops because of that.

4. Tell us about a time when something really funny happened on tour!

In 1993, the snares were having a sectional on a bridge in the middle of no where (like usual). As we were drumming through this one particular section of the show we hit this GOCK and the next thing we hear is this car schreeching to a halt! Whoa, what happened! The woman jumps out of her car and walks briskly around her car staring at the tires. She was looking for a flat. :-) Traffic was then backing up in both directions as this bridge was pretty small. We finally started laughing as we realized that she thought our GOCK was her tire blowing out. We made her aware of the situation and got a good laugh out of it as well. However, the locals were getting restless waiting for her to be on her way. :-)

5. What do you think was the most key ingredient in the success of the 1989 SCV percussion program?

The 1989 line was in the middle of the Dynasty built during the 1980's and accelerated by the addition of Glenn Crosby to the SCV staff during the end of the 1987 season. He brought with him a level of excellence that transformed the SCV drum program over the next few years. From 1988 to 1991, the lines got better and better. I totally accredit the success of those lines to Glenn's addition to an already incredible drum staff.

6. Who had better tour busses - SCV or the Blue Devils?

Glad you asked! Both corps have comparably equipped busses, neither being more comfortable than the other. However, the SCV busses do have curtains that close rather nicely when the sun is in your face at 6am. It is also a cool SCV tradition that the corp closes the curtains on the way to every regional. At BD, we would rock all of the busses before every regional. That was always a blast!

7. Many times we hear the classification of playing styles. Specifically speaking, how would you describe the "West Coast" style?

Based on what I see nowadays, it is hard to draw a line between the coasts. When I think about the differences a long time ago, I would have to say that the first thing that pops into my head is "touch". I think that the "West Coast" style has been to play with a lighter touch than in what you might call the "East Coast" style. You might think about legato versus staccato. However, too many people think of legato as "letting go" of the stick. That is not the case at all. Everyone will have their own interpretation of legato and mine is that the stick flows with a never-ending motion. Staccato is often associated with playing harder, but I think of it as the stopping and starting motion of the stick.

8. What ensembles have you instructed, and how did you get hired to teach them?

1996-1997: Miami University (Ohio) Drum Line. I attended Miami University in Oxford, Ohio to pursue a M.A. in Economics during a 12-month program. I called the band director looking for a job teaching his drum line and was told that they had no money for an extra instructor. I sent him my resumé and he called back to inform me that they would find some money. :-) I worked with their fall and winterdrum lines. The head drum instructor was Jason Koontz, a brilliant young musician whom I got along with better than any other instructor ever. That was the most amazing part. We came from such disimilar backgrounds yet we got along like we marched together. What a very cool experience. Thanks Guys!
1993-1996: Beyer High School, Modesto, CA. Shawn Glyde brought me into that program just after the fall 1993 season. He wanted to step up the technical numbers so he asked me to "do my thing" and straighten the line out. In just over a year, the winterdrum line of 1995 scored 100/100 in technical merit at the winterdrum championships. What a great experience it was working with that group of kids. :-)
A sampling of the other lines I have taught are as follows:

Golden West High School, Visalia, CA : 1995-1996
Freelancer Drum & Bugle Corps, Sacramento, CA : 1994
California State University, Fresno : 1993-1995
Clovis West High School, Fresno, CA : 1993
Independence High School, San Jose, CA : 1990-1991
Piedmont Middle School, San Jose, CA : 1987-1988


9. It must be pretty stressful being the center snare for such legendary drumlines, tell us about the demands of being in that position, and how it might change over a period of time.

To be the center you have to be the best. Plain and simple. You have to be the person to have the stick heights perfect first and the one to always be playing with a metronome. You need to be one with the drum major and be able to jump start the line on a seemingly lazy day. You must lead by example and lend help to others. You are the liason between staff and members. As the season progresses, the job gets a little easier as everyone learns the ins and outs of the drum corps life. Every person has their own style and individuality which makes every center a little different.

10. Who has been your most inspirational corps director, and why?

Only being in two different corps, I would have to say Gail Royer. (God rest his soul.) There was nothing more inspirational than watching him conduct the corps in playing "Send in the Clowns" at the victory concert at Nats 1989. It was an awe-inspiring moment never to be forgotten.

11. Who has been your most inspirational percussion instructor, and why?

Dave Dilullo, Independence High School drum instructor for the 1986 marching band season. Dave was one of my first High School instructors along with Tom Tolbert, who himself was an Independence grad and SCV center in 1982. Dave had just marched his age out year with the 1986 DCI World Champion Concord Blue Devils and had lightening fast chops. He was very nice and very positive. He never put anyone down and always challenged me to play stronger and faster. It was that drive that I kept with me throughout all of my marching years. I really appreciate what he did for our line and what he did for me personally. Thanks Dave. :-)

12. Now that you're not marching anymore, do you have any future plans to stay involved in the activity?

I have been teaching ever since I aged out and have stayed in touch with many friends still marching. I try to make it to a camp every winter to catch up on the latest things happening on the west coast. Currently, I am doing some on-line consulting as well as writing a few individual snare solos. I keep practicing and always catch local shows; band, drum corps, and winterdrums. I hope to teach another line in the near future, though I have no prospects at this time. You could say that I am available if anyone is interested. :-) Please contact me at Mrflamman@aol.com. Thank you very much for this interviewing opportunity. It has been a lot of fun!


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