Jason Bittner 
(July 2005 Issue)
Proving Speed, Power, And Musicality Can Go Hand In Hand

"I don't really work on foot speed at this point, because I think I'm fast enough. I would rather spend my practice time on something that will bring a new and different aspect to my drumming."

I first met metal drummer Jason Bittner on a sweltering 90-plus-degree morning in Atlanta. It was Ozzfest 2003, and Bittner's Boston-based group, Shadows Fall, was scheduled to open the second-stage festivities. When I arrived, I was surprised at the already gathering crowds that were swarming the stage. Expecting to find Bittner enjoying a morning cup of coffee and a box of Krispy Kremes in his air-conditioned tour bus, I was impressed when I was led to the back of a U-Haul trailer (no air conditioning), where Bittner was feverishly warming up for the band's upcoming set on a set of practice pads. Drenched with sweat, Bittner went on to give a masterful performance, totally impressing the throngs.

Bittner's hard work and dedication has paid off, perhaps most obviously by his being voted best up & coming drummer for 2004 by the readers of Modern Drummer. It's no wonder why. Just check out his drumming on any of the band's discs, especially their latest, The War Within. We're talking some of the most impressive double bass drumming ever laid down. (FYI, the first pressing of the new CD includes a twenty-minute DVD drum lesson!)

Refreshingly, Bittner seems humbled by his success. He says he feels that his band's popularity stems from the fact that they combine a fresh taste of melodic old-school rock with nu metal. The formula must be working: Shadows Fall is currently on its first headlining tour of the US.

Bittner's powerful drumming approach combines blinding speed with double bass intricacies that bring to mind greats like Bozzio, Portnoy, Benante, and Lombardo. His double bass drumming is inspiring technically, but also musically. No question, Jason Bittner has found his unique voice on the instrument.

MD: The War Within shows the band's outstanding ability to blend several generations of metal styles in a fresh way. And your drumming concepts continue to grow, not to mention that the drums are well recorded and "in your face" in the mix.
Jason: I put a lot of time into this recording. I was so intense about doing a solid job that I was having anxiety attacks and chest pains from the stress of performing to the best of my abilities. I really wanted to raise the bar with my drumming, much higher than the last recording.
So I went into the recording as prepared as I could be, down to knowing the exact fills that I would play for each song. Since we had some time off, we spent a lot of time rehearsing for the recording, which really helped us focus. I recorded all of my parts in two days. I tracked seven songs the first day and three the second. I'm very happy with the outcome, in fact I feel it's the best recorded performance I've ever done.
MD: In preparation, did you put in any extra practice time to fine-tune your technique?
Jason: There were certain things that I had to practice. Some of the ideas that I heard in my head, I was having trouble creating on the drums. Since I was giving drum lessons two to three days a week during that time, I was already strengthening my chops. Then I put in extra practice for the recording. So overall I was practicing five days a week.
MD: It certainly shows on the new recording. Your double bass chops are blazing, and your 16th- and 32nd-note phrasing ideas on the bass drums are inspiring.
Jason: I've been working out of The Encyclopedia Of Double Bass Drumming by Bobby Rondinelli for a while, and it's been a great help to my chops. I also use it with my students.
MD: Do you feel comfortable with the technique you've developed to this point, or are there things you'd still like to learn?
Jason: I feel confident with the technique I've developed so far. I'm happy with my foot technique, but there are other areas I'd like to improve. I would like to be able to play like Virgil Donati - but I don't have the patience or the time to practice eight hours a day. [laughs]
One thing that I've heard from other drummers who have heard me play over the years is that I'm consistent. Once I create a part, I don't change or deviate. One of my heroes, who I've learned that concept from, is Neil Peart. He's one of the most consistent drummers I've ever seen in my life. Every time I see him play, he's flawless, and he knows exactly what he's going to play. I'm not the fastest double bass drummer, and I'm not the most intricate double bass drummer. But I try to develop parts that fit the music and that will create excitement.
MD: What other drummers inspire you?
Jason: A lot of the guys I admire are my friends now, but I still look up to them and wish that I could do what they do. Charlie Benante and Dave Lombardo are major influences on me. The guys who I get all my tasty licks from are Neil Peart, Stewart Copeland, and Mark Zonder of Fates Warning.
MD: Describe your double bass technique and how you have developed such a strong, smooth approach.
Jason: I play heel up, with the balls of my feet. I started playing double bass when I was fifteen years old. The first song I tried to learn with two bass drums was "red Hot" by Motley Crue. That was the ultimate challenge for me, so Tommy Lee was the first drummer to influence my double bass chops. From there, I played along with early Metallica records. That helped my foot speed a lot.

MD: Are you satisfied with your foot speed?
Jason: I don't really work on foot speed at this point, because I think I'm fast enough for this style of music. The last song on the new record is 200 bpm. That's fast enough for me. [laughs] At this point in my life, I don't want to spend two hours of my day just trying to get to 210 bpm. I would rather spend my practice time on something that will bring a new and different aspect to my drumming.

Mike Haid

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