Glenn Kotche

The lengths some people will go… Wilco’s compositionally minded drummer prepares his kit with a glorious array of mechanical and digital devices, each with a specific, meaningful effect—and its own set of performance demands.

At one point in the middle of this interview with percussionist, composer, and Wilco band member Glenn Kotche, I joke that we’re going to tag him with the description “The John Cage of Rock Drumming.” (“He’d be rolling,” Kotche responds.) But if you’ve ever seen the Chicago-based drummer/explorer in action—shaking Scandinavian chicken paddle toys, scraping cymbals with threaded rods, or making otherworldly sounds with his various “in-Glenn-tions”—you’ll know that such a seemingly incongruent comparison isn’t really that far off.

See, back in the 1930s and ’40s, Cage shattered the rules of “classical” composition by forgoing traditional music theory in favor of unconventional ideas like treating rhythm as melody (“Pulse”) and writing for silence and the randomness of environmental space (“4’33″”). Cage was also one of the first composers to explore the new sounds of the prepared piano (“Bacchanale”), which involves modifying the instrument with nails, screws, paper, and other items placed between the strings.

Drawing inspiration from Cage, as well as from the minimalist composers Terry Riley, Steve Reich, La Monte Young, and others, Kotche takes a similarly creative, forward-thinking, and nontraditional approach within his own drumming, composing, and equipment choices, whether he’s playing big rock beats and abstract percussion textures in outdoor sheds and theaters with Wilco; exploring the divide between performer and spectator at art galleries and alternative venues with his experimental performance-art duo with bassist Darin Gray, On Fillmore; or entertaining his own muse in a variety of settings as a soloist or featured drumset artist.

And after watching Kotche and his drum tech, Nate Murphy, spend the few brief moments between tunes during a Wilco show carefully making a series of well-choreographed drum and cymbal modifications—taping snare wires to the bass drum head, adding/removing homemade hi-hat shakers/jingles, or covering the drums with loose heads, motorized back massagers, and other noisy bits—there’s no doubt that the instrument Glenn uses to express his musical voice has as much in common with Cage’s prepared piano as it does with the traditional drumset used by groove masters like Jim Keltner, John Bonham, and Al Jackson Jr.

Since our last cover story (August 2007), which ran shortly after Wilco released Sky Blue Sky, its first studio album with the current six-piece lineup comprising Kotche, vocalist/guitarist Jeff Tweedy, multi-instrumentalists Mikael Jorgensen and Pat Sansone, bassist John Stirratt, and lead guitarist Nels Cline, the drummer has been busier and more productive than ever. Wilco put out two more recordings, Wilco (the Album) and The Whole Love; On Fillmore recorded, released, and toured behind its third album, Extended Vacation; and Glenn moonlighted as a session player on Andrew Bird’s Useless Creatures, Radiohead drummer Phil Selway’s Familial solo album, and the collaborative charity project 7 Worlds Collide, which was organized by Crowded House frontman Neil Finn and included members of Wilco and Radiohead, singer-songwriter KT Tunstall, and Smiths guitarist Johnny Marr.

Kotche’s credibility as a contemporary composer has also skyrocketed these past few years. Just a partial list of the ensembles he’s composed for and/or performed with includes the Kronos Quartet, the Bang on a Can All- Stars, Yo-Yo Ma’s Silk Road Ensemble, and So Percussion, which commissioned Kotche to contribute material for a program sponsored by the new music organization Meet the Composer. (So Percussion premiered these works—a series of drumkit quartets—in April 2011 at the Morgan Library & Museum in New York City.)

We caught up with Kotche while he was on the road with Wilco in support of The Whole Love, so we decided to focus our conversation on how he came up with the unique parts and sounds that appear on the record, as well as how he’s translated those tracks into something he can pull off on stage.

Glenn Kotche

MD: You’ve always done a lot of layering of percussion and drumset with Wilco, both live and in the studio. Where do you start when figuring out how to translate the recordings to the live show?

Glenn: I just try to cover what’s on the record as accurately as possible. But taking into account overdubs and multiple passes, I have to see how much of it I can handle. It’s a really fun challenge, and it dates back to my first tour after joining the band for Yankee Hotel Foxtrot, when I had to figure out how to play a song like “I Am Trying to Break Your Heart,” which has interlocking parts on crotales, drumset, and sampler.

MD: How do you know which parts are crucial, especially percussion overdubs like shaker and tambourine?

Glenn: If there are shaker, tambourine, and drumset parts and it’s a louder rock song, you’re not going to miss the shaker live. But other parts with actual notes, or parts that have a hook or an interesting sound that affects the overall texture of the song…I consider those important.

MD: Tell us about what’s going on in the first tune on The Whole Love, “Art of Almost.” That opening groove has a hypnotic, syncopated feel.

Glenn: I came up with that beat years ago and always kept it in the back of my head. This tune originally had a mid-tempo soul vibe. I came up with a groove on a Roland CompuRhythm drum machine and then layered drums on top. But after doing a pass, I started messing around with this odd beat. Jeff heard that and wanted to try singing over it, so I went back and played it over the entire song. That set off a chain reaction. Our keyboardist Mikael started messing around to create an electronic thing. Then we added recordings of hard drives starting up, and John revamped his part.

MD: Has the beat evolved now that you’re playing it on tour?

Glenn: The beat on the record is sparser than what I’m playing now. I’m doing a few subtle variations with extra bass drum here and there. The groove is in 4/4, but instead of grouping it in four groups of two, it’s grouped as three plus three plus two. When I studied with Paul Wertico, he talked about this idea of finding the clave in all types of music—not just in bossa nova, samba, and Afro-Cuban. He got me thinking about coming up with rhythms that go over traditional 4/4 groupings and then playing off those instead of being married to the downbeat.

MD: The track has two very distinct drum sounds, one that’s heavily treated and another that sounds more like a standard drumkit. Are you trying to replicate that live?

Glenn: Somewhat. On the record, the intro version has all kinds of preparations taped and draped on my cocktail kit—little shakers, chains, and bells. I did another version on my regular kit using the same groove, and then I overdubbed a second part in one of the choruses. Live, I play the beginning section while holding toy sleigh bells backwards in my right hand, along with a drumstick. Right before John comes in with that funky bass line, I drop the sleigh bells to get a clean drumset sound. When I drop the jingles, I play on the top of the hi-hat instead of on the edge to get a cleaner, more focused sound.

I’m covering the big electronic hits with the DrumKAT, and I add floor tom in certain sections to emulate the overdubbed second drum part.

MD: Tell me about the beat you play in “I Might.”

Glenn: The left-foot hi-hat part is the melody of the beat in this song. It involves some independence to get the left hand to play against the steady hi-hat pattern during the snare fills. Live, I put a bunch of jingles on the hi-hat so that it’s really loud.

MD: There are subtle percussion textures in “Sunloathe.”

Glenn: It may seem like there isn’t much drumming in this song, but I’m actually doing a lot of stuff. The first thing I do is put a bunch of back massagers and hand fans on the drums to create a low rumble. Live, I put the massagers in these big Kenyan shaker bracelets, which keep them from falling off the drums, and they add a bit of extra sound.

For the second part on the record, I shook these bizarre Vibra-Slap-type things and played a vintage toy teapot on the backbeats. Live, I use these Indian clappers for the backbeat, and instead of the Vibra-Slaps I use a modified tambourine that has washers, keys, and animal tags instead of jingles to get a dry “chick” sound.

For the bridge, I play Scandinavian chicken paddle toys. I screwed a finger cymbal to the middle of them, so the wooden chickens peck it when I move the paddle in a circle. The guys made fun of me when I recorded that part; they said it sounded like a bunch of elves in a workshop. [laughs]

MD: “Dawned on Me” is a more straightforward rock song. Have you modified your parts for the live show?

Glenn: I play it exactly the same, except that where I played tambourine thumb rolls and castanets in the second verse on the record, I play four-stroke ruffs on a mounted tambourine and some castanets that are attached to the cowbell on my bass drum. There’s a hand-siren part going into the bridge, which I sampled and play with the DrumKAT. I also sampled the big Vibra-Slap hit at the break, and I add jingles on the hi-hat to help lift the chorus a little bit.

MD: “Black Moon” is another track with subtle percussion parts.

Glenn: When we recorded this song, I put little percussion sounds all over the drums. To do it live, I mounted shakers, little bitty drums, sleigh bells, and jingles on a 16×14 lap desk that’s padded on the bottom. I set that on my floor toms and play it with little pastry brushes. I also add sizzlers on the cymbals for the swells, and I mount LP One Shot shakers on the hi-hat and disengage the cymbals so you hear just the shakers when I play the pedal.

MD: It must get a bit nerve-racking having to make all these changes, especially in high-pressure situations like playing on live television.

Glenn: I credit my experience in the Cavaliers drum and bugle corps for helping me get ready mentally. Some guys crack when they get in bigger situations, but you’ll never know that until you’re in the hot seat. It has nothing to do with talent or technique—it’s a mental skill.

Most of the guys that come to me for lessons are professionals wanting to know how to get to the next level. There’s no one answer to that, but often the thing they need to do more than anything else is figure out how to pull through under pressure. That’s what will separate most people.

MD: Do you do anything to prep mentally for a show?

Glenn: I always warm up physically but not mentally, and I’ve gotten better the less I worry about it. For the first four or five years with Wilco, I would have a metronome under my hi-hat to help with count-offs. But I forgot the metronome for one tour, and that was the best that things had felt for a long time. Now I just don’t think about it anymore.

MD: Without that pressure, I imagine you’re having a bit more fun on stage.

Glenn: Yeah, and also the tempos on the record aren’t necessarily where we’re playing them now. Some songs need to breathe a little more, or they need a little more energy. The tempos of the recorded versions aren’t necessarily going to gel with where everyone’s feeling them now.

MD: Have there been times when you’ve had to adjust a tempo on the fly?

Glenn: Occasionally. I’ve noticed that the stage sound makes a big impact. If it’s a dry, dead stage, things tend to be a little on top because you feel like you have to fill the space more. If it’s a great-sounding stage, or even a boomy one, things fall more in the pocket, if not a little back.

MD: Does your monitor mix play into it?

Glenn: It does. I switched from wedges to in-ears last year, which helped make the stage sound quieter and more consistent. I can hear everything more clearly and there’s a more collective feel, so I can help steer the ship more easily.

MD: You guys have a very fluid band sound. You all seem to move together.

Glenn: And that’s the way we want it to be. When I first joined the band, we tried a couple things with backing tracks, but Jeff couldn’t stand it. He likes it to breathe, like it does with the music we grew up listening to and still love.

I love Pro Tools, and we used it exclusively on this last record, but so many people are going in and making “perfect” performances. As a drummer, of course you want your best representation out there, and I can’t say that if I didn’t have five other band members policing me and keeping me from doing more takes that I wouldn’t do that too.

MD: Especially when there’s a click track that always reveals the truth.

Glenn: Right! I battled with that during the end of “Sunloathe.” I still listen to those fills and think it feels like it’s sitting back. But I listened to it in the studio against the click track, and it’s dead on. I don’t know if it was the bass, guitar, or vocal phrasing, but something makes it feel like it’s laying back to me. But that’s music—it breathes.

MD: Do you do anything differently when you intentionally want to play behind the beat?

Glenn: Sometimes I introduce a little more motion to what I’m doing so that it’s physically a little more difficult to play on top. I do that a lot when I’m playing slow tempos, especially on the ride cymbal—I’ll use big, round strokes. And I’ll use more of a Moeller approach on the snare to keep my body in constant motion.


MD: Last year you premiered a few drumset quartet pieces with So Percussion. How did that project come about?

Glenn: I’d been working on a bunch of commissions for different groups over the past few years, but I had a desire to get back to composing for percussion. I really enjoyed writing for string quartet, so I figured why not write a drumset quartet? I was touring a lot with Wilco, so I set a goal to write one idea a day. Sometimes I would wake up and go to a café, and from what I was hearing around me an idea would pop into my head. I remember getting woken up at a festival in Holland by somebody checking their hi-hats, so I took that as a jumping-off point.

In the middle of this tour, So Percussion contacted me to work with them. I chose about ten of the quartets that I thought were the strongest or the most interesting, and I started finishing them. For one that they premiered, “Drumkit Quartet #51,” I took the parts that were originally written on drums and orchestrated them on marimbas using four pitches. Some of the others are more conceptual and more about the social aspect of how the four players interact.

MD: What were you trying to explore in these pieces? Some of the music involves advanced polyrhythms between the players, while others are more textural and incorporate the audience a bit.

Glenn: The polyrhythmic things are ideas I thought would be cool to figure out how to play on the kit myself. But with the reality of being a touring musician with a family, I knew I wouldn’t have time for that, so I decided to explore the ideas with four players instead.

A lot of my writing comes from my own curiosity about things I want to try. Sometimes it seems feasible to make it happen as a solo piece, and sometimes it makes more sense to orchestrate it for multiple players. “Drumkit Quartet #1” is really aggressive. That one started as a solo piece, but then I arranged it for four drummers. I’ve since rearranged it back to a solo piece, incorporating the different sounds that were used in the quartet version. The big reason I do all of this composing is to make myself a better drummer.

MD: How much of your composing starts with free exploration versus coming up with a concept ahead of time?

Glenn: I almost always start with a concept. I’m basically asking myself questions and seeing if I can answer them. Or sometimes problems are presented to me, like having to write for a certain group of instruments. That gives me parameters to work in, so then I have to figure out what I can do that’s honest and reflects where I’m at musically at that time.

MD: Do you always start from the drums and percussion?

Glenn: That’s who I am, so everything is an outgrowth of that. It bothers me a bit when a drummer makes a solo album and it’s a pop record. I mean, more power to them if they want to play all the instruments and write lyrics. But I always want to hear a drumming record. I want to see where our instrument can go, so that’s what I do. I’m just being honest. The drumset is an amazing instrument, and it’s so much more than a backbeat provider. It’s so limitless when compared to other instruments.

“Drumkit Quartet #6” is based on Wilco grooves. It involves air drumming and some other concepts. I was basically trying to push the definition of the drumset—treating the four parts more like one single organism.

MD: When I saw the premiere of these pieces, I was most intrigued by “Drumkit Quartet #50” because it was so abstract and interactive. There was a point when the performers left the stage and started taking pictures of members of the audience with disposable cameras. You could tell that some of the people there had never experienced that type of thing.

Glenn: That idea came about from my duo project, On Fillmore. We’ve started incorporating a little more theater in our shows. I’ll go out into the audience with my bullroarers and swing them around, or we’ll call people up on stage to play drums while I walk around playing bells or chicken paddle.

We want to explore ways to dissipate that divide between audience and performer. It’s not done confrontationally; it’s done invitingly and humorously. But I’m all for the uncomfortable, as long as you’re not invading anyone’s personal space or hurting them. I personally like to be challenged when I go out to see music, a play, or a performance of any sort.


MD: Did any of your work on the drumkit quartets end up influencing the drum parts on The Whole Love?

Glenn: For “Drumkit Quartet #54,” I was thinking about coming up with beats where the time was kept on the bass drum. We were working on the song “Born Alone” at the same time, so this concept was in the back of my mind. In the main groove, the bass drum keeps the time while the hi-hat creates a little melody with short and long notes.

MD: Are you playing the bass drum more quietly than you normally would?

Glenn: Yes, especially in the verses. I’m only coming off the head a couple inches, because I don’t want it to sound like someone slapping you on the back. It has to be musical. But this is nothing new. Big band drummers have always kept time on the bass drum, whether it’s heard or not.

MD: This idea of changing up where you keep the time makes me wonder where drumming is going to go next.

Glenn: Right! And who knows. But then you listen to a guy like Tony Allen, who, because of his influences, plays completely originally. He plays these weird broken diddle things between the snare and bass drum, but it works.

As drummers, we’re brought up in the canon of, “This is how you become a great drummer: Learn this independence, these patterns, and these Latin grooves.” We’re all playing the same things over and over, which any great artist has to do. You have to learn the vocabulary. With so many drummers, though, it’s like we amass all these skills but then just regurgitate things over and over.

MD: I still struggle with the idea of playing four quarter notes convincingly.

Glenn: And that’s the thing—we could spend our entire lives refining how to play the basic vocabulary and still never quite get there. But I like the analogy with visual arts: Learn how to paint so that you can make it look like a photograph, but then don’t just do

realistic paintings. Use those skills you practiced to make something completely new, fresh, and mind-blowing.


MD: The drum sound on “Open Mind” is very dark and dry.

Glenn: I used goatskin on the toms for that song, so it has an old Merle Haggard vibe. Live, I put [Evans] Hydraulic heads upside-down on my floor toms to get a similar sound. I do the same thing on “I Am Trying to Break Your Heart,” “Kamera,” and “Whole Love.” It gives the drums a deep, thuddy tone with little sustain.

Glenn Kotche

MD: How do you keep the Hydraulic heads from popping off the drums?

Glenn: I tape three Moongels to the playing surface of the Hydraulic heads. That gives them enough tackiness that they don’t fly off. I also use smaller heads—a 14″ on the 16″ floor tom and a 16″ on the 18″ drum.

On the record, I did two passes for this song. One was with brushes, and the other was with sticks. We spliced between the two takes in different sections. You can’t really notice, but that’s the most manipulated performance on the record.

MD: “Capitol City” has a strange, buzzing bass drum sound.

Glenn: I taped snares to my bass drum batter head, right where the beater hits, to give that buzzing sound. I use those live too. On the snare drum, I tape a rawhide shaker filled with shotgun shot to get a really tight “snap,” almost like a Scottish drum. Live, I play the first verse with Pro-Mark Webs, and then I switch to SD7s to get a tighter hi-hat sound.

MD: The ending drum part on “Rising Red Lung” has a little bit of a Steve Gadd “50 Ways to Leave Your Lover” vibe.

Glenn: That’s what I was afraid of. [laughs] I wasn’t thinking that, but it’s okay. It’s like someone saying your song sounds like the Beatles. Are you going to get offended? But I was actually thinking more about a modified soca/calypso feel, split between the hi-hat and snare.

This song is pretty complicated to pull off live. It starts with a choir of suspended cymbal rolls, so I’m holding four mallets and doing one-handed marimba rolls on two different cymbals, which is a technique I learned from Jim Campbell at the University of Kentucky. Then my left hand switches to a Pro-Mark Smaxx on the outside and a threaded rod on the inside. When we come to the first bridge, I rake the Smaxx down the crotales. Then, during the hold, I scrape the rod down the cymbal.

For the next verse, I play an egg shaker that’s strapped to my right hand, which is also holding a rod. My left hand picks up mallets to play suspended cymbal, and then I put those down and pick up a rod with the left hand to play that “Gadd-y” part on the snare drum.

MD: Where do you put the mallets so they’re easy to get to during these quick changes?

Glenn: I have a tray underneath my crotales on the left, and I have a towel on my electronics rack on the right. I put a bunch of sticks, rods, brushes, and mallets in those two places. I use about eight different types of sticks and mallets throughout a show, which is kind of insane. If I didn’t have a drum tech, I’d be screwed. He helps get everything ready from song to song, including switching the samples in the sampler.

MD: It sounds like you used goatskin heads again for the triplet-based tom parts in “Whole Love.”

Glenn: I did. So live I put on the Hydraulic heads. I use SD5 sticks, which have a small bead, for more articulation, and I add a hi-hat tambourine.

The choruses have an Elvin Jones–type ride pattern with an accented upbeat that I play on the floor tom, and the bridge part is something that goes back to my college days, when I was practicing Ted Reed’s Syncopation exercises by playing all the written notes with bass drum and ride cymbal and filling in the rests with triplets.

MD: “One Sunday Morning” is a long tune with a subtle, hypnotic brush pattern played throughout.

Glenn: I originally did one pass of this song where I was just picking up different things and playing them. It sounded like someone rummaging through a junkyard. When we listened back, Jeff and I loved it, so that became the basic drum part until we got further along and decided to add the brushes.

Part of me thought that with something as long and repetitive as this, the drums should keep moving and changing to help the song evolve. But then we realized that maybe it just needed a static part to create a bed for everything else to evolve over.

The remnants of my original approach appear in two instrumental sections when we play the song live. That’s when I play the chicken paddle, large sleigh bells, and another little wooden toy instrument.

MD: The idea of breaking free from metered rhythms and playing textures on drums sounds very liberating.

Glenn: It is. I remember when I was recording a song with Simon Joyner, about fifteen years ago, and I decided to stop playing in the chorus and just ring this little bell. It was so empowering, and it was much more dramatic to have the drums go away and be replaced with this miniature drone.

MD: So I have to finish off by asking: why? Why go to all this extra effort to replicate these subtle, or not so subtle, sounds from the record when you get on stage?

Glenn: Well, because that’s the sound of the kit. It’s like when guitarists switch guitars or apply effects, or when keyboardists switch sounds. I feel like the sounds we created for the drums in the studio become important parts of the songs, and I want to be true to them—even if it’s just little things, like adding hi-hat jingles on “Dawned on Me.” If that tambourine part weren’t there in the chorus, it would sound different. And it affects the way I play.

On “Whole Love,” I’m treating the floor toms like the ride cymbal. There are a lot of fast triplets happening, so if I didn’t have the Hydraulic heads on top of them and I was just using an open tom, it would become a drone and you wouldn’t hear the articulation. So that’s why I go to the trouble: It just sounds better. And let’s be honest—it’s fun!




Glenn Kotche
Drums: Sonor Delite in tiger stripe finish
A. 5×14 black steel snare
B. 9×13 tom
C. 16×16 floor tom
D. 18×18 floor tom
E. 171/2×24 bass drum

Cymbals: Zildjian
1. 14″ K Dark Thin hi-hats
2. 17″ K Custom Dark crash
3. 22″ K Dark Thin ride
4. 19″ K Dark Thin crash ride
5. 18″ A Custom Rezo Pang

Glenn also uses a 40″ traditional gong, a Burma bell, high and low octaves of crotales, and various sizes of prototype frying pans.

Heads: Evans, including an EC Reverse Dot snare batter and Hazy 300 bottom, Onyx tom batters and G1 Coated bottoms, EQ4 bass drum batter and EQ3 smooth white front head, and extra Hydraulic heads that are placed upside-down on the floor toms for certain songs

Sticks: Pro-Mark 747B Super Rock Hickory sticks with Pro-Grip, custom prototype drumset mallets, TXSD7W and TXSD5W multi-percussion sticks, Webs, customized B600 brushes, Lightning Rods, Smaxx, Voyager Pete Lockett PL1 sticks, PSX30R keyboard mallets, FK2AL large aluminum keyboard mallets, PST3 felt timpani mallets, FTB1S Tom Freer steel triangle beater, and PSGB1 gong beater; PureSound Speedball bass drum beater; several custom versions of rods, brushes, and threaded dowel sticks

Hardware: Sonor 600 series

Percussion: LP, including customized small One Shot hi-hat shakers, large One Shot shakers, Cyclops mountable tambourine with dimpled brass jingles, Prestige cowbell, Cyclops jingle rings (brass and steel), Rock shaker, Fiber maracas, Cyclone shaker, Ching Chok, Jingle Sticks (steel and brass), Flex-a-Tone, Vibra- Slap, and Factory Metal Cross Crasherz and Celtic Bells

Electronics: Native Instruments Battery 3 software loaded with samples recorded in the studio, Apple MacBook Pro laptop, DrumKAT, contact mics on the snare and bass drum (made by Glenn’s drum tech, Nate Murphy), SDT1 piezo film contact pickups on toms

Contact mics are run through a mixer into a Schroeder Blister Agent distortion pedal that’s controlled with an Ernie Ball VP Jr. pedal (placed next to the hihat pedal).

Glenn Kotche


Glenn Kotche Mobile, Introducing, Next /// Wilco The Whole Love, Wilco (the Album), Yankee Hotel Foxtrot, Sky Blue Sky, A Ghost Is Born, Kicking Television, The Wilco Book companion CD /// On Fillmore Extended Vacation, Sleeps With Fishes, On Fillmore /// Seven Worlds Collide The Sun Came Out /// Phil Selway Familial /// Loose Fur Born Again in the USA, Loose Fur /// Jim O’Rourke Insignificance (double drumming with Tim Barnes), Eureka, All Kinds of People Love Burt Bacharach /// The Minus Five Down With Wilco

Max Roach Survivors /// Paul Lytton The Inclined Stick /// Lytton & Lovens Moinho da Asneira, Was It Me? (Paul Lytton, Paul Lovens) /// Alex Cline Not Alone /// Masahiko Togashi The Face of Percussion /// Chris Cutler Solo /// Eddie Prévost Loci of Change /// Chris Corsano The Young Cricketer /// John French O Solo Drumbo

Albert Marcoeur Celui Où Y’a Joseph (Gérard Marcoeur) /// John Luther Adams Four Thousand Holes /// White Denim D (Josh Block) /// Meehan/Perkins Duo Travel Diary (Todd Meehan, Doug Perkins) /// Buke and Gass Riposte (Aron Sanchez, Arone Dyer) /// Kandis Airflow, 1996–1999 (Jens Massel) /// J Dilla Donuts /// So Percussion It Is Time (Jason Treuting, Adam Sliwinski, Josh Quillen, Eric Beach) /// Mauricio Kagel Acustica /// Stuart Saunders Smith Breath: The Percussion Music of Stuart Saunders Smith /// plus anything with John Bonham, Levon Helm, Max Roach, Tony Allen, Maureen Tucker, Jack DeJohnette, Tony Williams, Ed Blackwell, Kenny Buttrey, Al Jackson Jr., Jaki Liebezeit, Ringo Starr, and Jon Christensen




“Art of Almost” recorded versionGlenn Kotchelive variation

Glenn Kotche

“I Might” main beatGlenn Kotche

snare fillGlenn Kotche

“Born Alone” second verse grooveGlenn Kotche

chorus patternGlenn Kotche

“Rising Red Lung” ending tagGlenn Kotche

“Whole Love” verse beatGlenn Kotche

outroGlenn Kotche