Story by Robyn Flans
Growing up in Atlantic City, New Jersey, Mason’s first influence was his father, who played drums for the Army band. At age four, he recalls playing the roll for the Star Spangled Banner, and getting his picture on the front page of the paper.
At eight, he began to take lessons on the snare drum, and didn’t buy his first set, a single lug Gretsch set, until his junior year in high school. “For years prior to that, I always wanted a drum set, but we couldn’t afford it,” he recalled. “Every Christmas I remember running downstairs to look for a drum set and there wouldn’t be one.
“When I was really young, I was just into reading and I didn’t play the drum set at all. I was in orchestras and bands and that’s really all I did. I had no direction as far as playing on a bandstand or anything like that. Then in jr. high school, the drummer in the dance band got sick and there was a concert that night for the PTA. I was the best drummer in the school, but I had never played a set. I kind of had an interest, but since I didn’t own a set, I never pursued it. They asked to me play that night, and after that, I became interested in set. It was amazing. I sat down the first time at a drum set and I could play it. So I remember putting drums together and making a set, and using the crash cymbals and making them into hi-hats, and all kinds of things like that. I did the same thing during my freshman year in high school and played in the talent show. Right after that, I got interested in jazz, which some of my friends were turning me onto.
“When I started going to shows and seeing Stevie Wonder and Motown bands and checking out the drummers, I began to get really enthused about playing. Musically, my interests were really wide because I was affected by a lot of music. I played piano in church and my interests were really varied. I took piano lessons, but not extensively. I was impatient and wanted to go faster than the teacher thought I should go, and also, faster than I was ready to go. Consequently, I never really put in the time I should have. I’m taking piano this year, though, and starting all over again. I can play functionally enough to play my own material and some other music, and I read slowly, but I really want to be good. I find more and more the need to be able to entertain myself on piano because drums leave a void in that way, as far as melodic interpretation, so I really enjoy it, plus it helps with writing.”
After high school, he went to Berklee School of Music for a year and a half, until he received a scholarship to transfer to the New England Conservatory of Music, where he completed his education. Mason says the choice to continue his musical education after high school was the best decision he could have possibly made.
“It came from my background and not having any money, and not really wanting to fall back in that position anymore. I wanted some sort of what I thought was security, so if nothing else, I could at least be a teacher. I had all kinds of offers, even when I was in high school, to go out on the road and stuff, but I declined because I thought maybe it would be short-lived and there wasn’t any insurance. That’s why I finished school. Even now, I feel that I could probably teach on a college level, and when I first came out to L.A. and I was getting my California teaching credential, I taught for six months at Hoover High School in Glendale and that was fun. It was always sort of an ace in the hole. Plus, the Conservatory gave me a good musical background. I learned a lot about harmony, orchestral playing, and I got to play with all kinds of great conductors at New England. I became familiar with all the instruments, and as far as Berklee, I learned an awful lot about writing in a real contemporary style and there were all kinds of great players there. Boston was a great place to be; all kinds of music, all kinds of great players. It was perfect. It was the best thing I could have done, rather than go out there and get locked into one type of music and probably neglect a lot of other kinds of music, which would have put a real narrow capacity on my interests and abilities. By going to school, I went to a melting pot of music, so school was absolutely perfect for me.”
He worked all through school as well, and in fact, his first night at the dorm at Berklee, he landed a job at the Pussycat Theater. “Someone called on the phone for a drummer and I was the first one to the phone, so I got it. It was great, because I had taken out a loan to go to school and had to pay.$131.60 a month to pay it off. I didn’t know where I was going to get that money. It was lucky I got that job.”
After that, he doesn’t remember being off for a month in an entire year. He gigged constantly in a variety of jobs, including strip places, jazz clubs, orchestras, percussion ensembles, belly dance clubs, operas, R&B bands, and once he even worked with Duke Ellington. He also began to work steadily at a club called the Sugar Shack, where the house band would back a lot of famous R&B performers touring the area without their regular backup bands.
During his last year in Boston, he even had the opportunity to gain studio experience by becoming involved with a studio called Triple A, which did jingles, religious albums and various other projects.
“I got to really think about drum sounds and really learned the kinds of compromises I had to make with my drums. I thought I knew, but I didn’t really, and I had to learn to bend and compromise that way. I have always been a sympathetic player because I’ve been in so many situations and I didn’t want to over-run the situations. I’ve always been in situations where I felt I was backing someone else up, and the object is to make them feel comfortable so they can do what they do the best they possibly can. I always wanted to have that kind of an attitude rather than my showing them up or anything like that. So going into the studio, I had to compromise, but it wasn’t hard for me to do that. You learn what to play and what not to play and you get very relaxed, so by the time I came out to L.A., I was pretty relaxed with recording.”
Mason came out to L.A. with Sally, a trombone student he had met and married during his first year at Berklee. Aside from her family being on the West Coast, they settled there because, “This was really where it was all happening with a lot of records, T.V., film, and a fair amount of jingles. Plus, I didn’t want to go to New York because I wasn’t crazy about the thought of going there and being surrounded by such a huge jungle, where there didn’t seem to be much organization. I thought it would be hard in L.A., but at least there seemed to be some organization to it.”
Shortly after the move to Los Angeles, Mason began to get session work. His first big break occurred when Marty Berman took a chance and used him on a big Texaco commercial, during which, Ray Brown saw him and called him to do the Bill Cosby Show with Quincy Jones. The calls, however, were for Mason the percussionist. He had played timpani throughout the four years of high school and had begun to learn the mallets during his last year, although not seriously. When he studied with Vic Firth of the Boston Symphony, during his instruction at New England, Mason became serious about mallet playing and practiced many hours daily, training as if he were going to pursue an orchestral job afterwards.
“There are probably some instruments I am more comfortable playing than others. Timpani would be one of them. There are guys in this town who have been playing the tuned instruments, the bells and things of that nature, as long as I’ve been playing drums. Being realistic about it, they would probably be more at ease doing that than I would. When I first came out here, though, percussion was all I was doing, and I went on dates where I didn’t know what I was going to see musically. So I developed an attitude where I put in quite a bit of time. There are points about me that are real strong, and there are other things that I guess aren’t going to be as strong, but it all worked out. I got hung a couple of times, but nothing really major or disastrous. I just went in and had a good attitude about myself and what I was doing, and I was able to pull myself through the situations.
“In the meantime, I wasn’t getting any calls for drums and I was wondering if my calling was percussion. I was doing a few record dates here and there, and they were even playing some of the records I had done on the Bill Cosby Show, and I said, ‘That’s me playing drums,’ and they said, ‘Sure.’ There were a lot of drummers, but I guess it was a novelty that I played percussion. One night, the Sammy Davis Show was going on and the drummer was sick and couldn’t make it, so he recommended me to the conductor. I went in there and played drums and there were some people there, one being J. J. Johnson. He was doing a TV show on a regular basis and he began calling me for both drums and percussion. Once people started hearing me more on drums, they began to call me for that as well.
“I would prepare by checking out the artist’s every album to check out style, how the drums sounded on previous records, etc. For a long time I was playing percussion, so I would watch the drummers carefully to see how they would handle the various playing situations.” He is grateful that he spent his early years training in all styles of music as opposed to joining a band, for it is that background that has made him the indemand player he is.
“A good studio player is someone who goes on the date and feels at ease playing anything called for to make the artist happy, and is fully capable of doing that.
“A negative session is one in which you have an attitude where you really don’t want to play what the people who hired you want you to play. That’s really a negative situation, because if they’ve hired you, they either want you to play like you, which happens after a while, or they want you to do something they hear, something they think you’ll be able to do for them. If you don’t want to do it, it’s going to be a negative situation; not being cooperative, not being interested and not doing the best job you can.”
Then there are times when what an artist may demand seems unreasonable. Mason has experienced relatively few such situations, but like many musicians, cited Steely Dan as being extremely difficult to work with “and with the money they wish to pay, it isn’t worth the mental anguish. They repeat and repeat, with no explanation as to why, so you really don’t know why you’re having to do it. I do like their records, but they really don’t have any earth shattering innovations for all the time and money they supposedly spend.”
He also recalled a particular Seals & Crofts session, providing some insight into the difficulties encountered by seasoned session players.
“What happened was, Jimmy Seals told me to give him more oranges and reds. He couldn’t tell me in musical terms what he wanted, and I couldn’t figure out exactly what he wanted from what he was saying. It was really frustrating. We finally had some words. I told him to write it out, that I had no idea what he was talking about, and he got real insulted. As a result, I didn’t do anything for those guys after that. I guess at that point, my patience must have been pretty thin because I had been in situations where people had asked me for weird things. Probably by that time, it had gone on and on and on, and I was probably just at the end of my patience. If I had been real studious, I probably wouldn’t have said anything and just smiled and kept trying, but I guess everyone has his limit and that must have been mine.
“At this point in my career, artists generally give me creative freedom. Sometimes I feel that people are intimidated and don’t want to tell me what to play, which is too bad, because they don’t want to give me an idea of where they want to come from. I want everything; I want it both ways. I want the people to be able to take me in and trust me totally to give what I think is best for the situation, and then I want other people to tell me. The only way you get new ideas and get to new points in music is by listening to other ideas. So I want it all.”
In addition to the on-the-job hardships, Mason has also encountered the normal difficulty a session player has in keeping his work fresh, exciting and stimulating. Production, playing live, his own solo career, and constantly expanding his musical avenues, in addition to maintaining a balance between his music and outside interests, have been the keys to his lack of stagnation and personal enthusiasm and growth.
“You can get burned out after awhile, and sometimes it gets hard to really stay up and always be cooperative, always be smiling, always look forward to going to the next date. For five years, I did three sessions every day and I really kept that attitude up, but after awhile, I got to the point where I burned out. So at that point, I knew it was time for me to pursue the artist end of it a little more. So I did that and started to move into another area so my attitude wouldn’t get bad. If I were to go on a date with a bad attitude, it would hurt me more in the long run, so I started not taking as many dates.
“I hadn’t really predetermined to have my own artist career, but in 1972 some record companies expressed interest in my doing so. My notoriety at the time was unbelievable, working with Herbie Hancock, and when they approached me again in 1975, I decided to do it.”
He has enjoyed that aspect of his career tremendously, yet simply as additional musical expression as opposed to being in the foreground. When asked how it felt to be the focal point of a project as opposed to the background player, he explained, “The success I’ve had has come from how I’ve played, which is being sympathetic and really laying down good pockets of interesting colors. When I did my album, I felt the focal point would be on the songs, the production, and the way everything was laid out; the whole musical environment, as opposed to just my drumming. A drum album is boring. I never even played a solo on the first record, and I had one song where I didn’t even play at all. I didn’t play on that song because it wasn’t necessary, and I was trying to say, ‘Look, I’m man enough, even on my own record, not to do that because it’s not what’s called for.’ So as far as my being the focal point, it wasn’t really like that. I was lucky enough to be able to produce all my records right from the beginning, so I was getting a really good experience of being in control and having the say in everything. It was a good experience that was leading towards another area, also in my own musical experience, and I began cultivating the interest of moving into production.”
While few realized Mason had been writing since high school, his audience became even more surprised when on his third album, Funk in a Mason Jar, he added his own vocals.
“When I was in church, I used to sing in the Choir, and I used to do a lot of things with them. When my voice changed, I stopped singing, but with the way music had been going, for records to get airplay, there’s been a greater call for vocals. If you’re not going to get airplay, you’re not going to survive. My albums went from selling 50,000 to 250,000 when I added vocals. I sang on some of that and started taking some vocal coaching up until about six or seven months ago. I just couldn’t make a record and have someone else doing all the singing. I really felt I wanted to participate, although I wouldn’t say I’m a singer, per se.”
After his third album, he went on a limited solo concert tour, which he would like to do again soon. Aside from a few appearances with George Benson and Bob James, it is the only live performing he has done in recent years.
“I really enjoy seeing the public reaction to things. It’s good for you to see some appreciation. You hear it on the radio and see that everybody is into it, and that’s nice, but to see it right there immediately is really great. It really takes you to a different place and also puts your playing on a different level. All the years I was doing studio work, though, I didn’t really feel that my live playing was suffering because I was playing so much, and in real challenging situations which called for me not to always play the same way. A lot of people say if you play studios, you get stale. You have to listen to yourself, and if you’re playing the same things, it’s not going to be too pleasant to hear. You just have to keep going for different things and not be afraid to try stuff. I think the style a lot of people know me for is probably a jazz-rock situation, which received a lot of notoriety, but there are a lot of records I’ve played where people wouldn’t know it’s me, unless they were really heavy listeners. I’m so aware of the fact of sounding like myself, that in some situations, I’ll purposely try not to sound like myself because it doesn’t call for that sound. So maybe I’ll play the ride cymbal with the left hand instead of the right, and do things like that, or play the backbeat differently, or use a different set of drums so as not to sound like myself. I’m always trying to come up with something different, and all the different musical situations keep you stimulated.”
At the close of last year, however, he had overextended himself, working on his fifth album, MVP, while producing projects for Midnight Star, Locksmith, Cassiopia and Lee Ritenour.
“For two months I was working every day, including weekends, and I don’t really want to be in that situation again. It kind of got crazy, but it was amazing. I had a lot of energy, and I was able to go on to a different project in one day, and I would still have a lot of energy and it was great. Pressure wise, it wasn’t too much fun. I stopped running for two months and gained 16 pounds. I wasn’t eating a lot, but I was just grabbing food on the run and sitting a lot, and I got into real bad physical shape. As soon as I finished all that stuff, I went on a 10 day fast and lost all the weight, and began running again and got back down to 160. So I’m running every day, I play golf, I play basketball and baseball, and in any given week, I may do two or three different activities. So right now I’m just doing dates and nothing else. This week I’m only doing four sessions, which is real nice and very comfortable, so I have time for other things.
I’m glad I didn’t play in one band initially. I probably would have been bored. I enjoy so many different kinds of music. It was more fun to do all kinds of different things. Now, I’ll produce a record, I’ll play on a record, I’ll write a song, I’ll go hear some music, I’ll go play some music, I’ll go run in a track meet or play some golf. Two weeks ago I went hunting. I’ll go skiing, I’ll travel a little, I’ll go to New York and do some record dates and be there for a week or two. Then I’ll go coach baseball and basketball with my kids, or go watch my daughter ride in a horse show. There are so many different things to do.”
His son, Harvey, Jr., seems to be following in his father’s footsteps, a prospect about which Harvey, Sr. does not seem to be worried.
“As far as the possibility of my son going into the business, I just hope he prepares himself as well as he can if he wants to do what I’m doing. Right now, at 12, he’s a good drummer. He can work in a lot of bands because he understands the function of a drummer from the standpoint of playing in a band, playing good time, good grooves, good fills and not getting in the way. But as far as studio work, and the aspect of getting to the technical level where things might come up and not surprise him, he needs to work on things and expand his musical vocabulary. As far as being in bands, though, he’s ready to do that right now. He also plays piano, he sings, and he’s really ready for that already. If he wants to get into it on that other level, we’ve talked a lot and he knows what needs to be done.
“To a lot of young drummers, I say to do all the listening you can, to everyone who is on record, or live. Try to evaluate what really makes them function in the setting they’re in. Try to add it to your arsenal or repertoire so that when you’re in a situation, you have more things to call on. Listen to the music and try to figure out what your instrument does in various situations. Don’t be intimidated by anyone musically, and just do what you do best, and feel good about doing. All you can do is what you do. You can’t do what anyone else does. If you’ve prepared enough, and have listened enough, and are musically sympathetic to a situation, you usually end up doing okay.”
In answer to the question of his favorite drummer, he replied, “I listen to all drummers. You can learn something and pick something up from everybody.
Harvey, himself, has been practicing these days, in addition to the practice he gets helping his son prepare for his lessons with Joe Porcaro, who Harvey feels is an excellent teacher. Mason has a studio not far from his house where he goes to practice calisthenics and endurance exercises, works on keeping his muscles limber and keeping things clean, crisp and sharp. He feels his running and all the physical exercise he does helps prevent him from getting tired on the road now, and the weightlifting he does helps the strength in his arms, for he says he plays much harder than he used to.
Mason’s switch to Premier products came a year ago January, due to several considerations. “I changed to Premier because they’re coming up with new things. They have a total percussion line, timpani, mallets, bells, chimes, everything, and I felt it was closest to my image as a total percussionist. I opted to go with a company that is growing.”
He has three different sets for studio work. One is for R&B dates, one is for big rock dates, and the other is primarily for television work.
His R&B set consists of two mounted toms and two floor toms, sizes 8 x 12,9 x 13, 14 x 14 and 16 x 16 with a 22″ bass drum.
Also with a 22″ bass drum, his rock set is for when he needs a big tom-tom sound. “If I need a real big sound, I use bigger drums. This set has the same drums, but with 16″ and 18” floor toms, and the 8 x 12 and 9 x 1 3 mounted on the bass drum. They’re tuned a little differently and I won’t mess with them. I try not to make drastic tunings on drums because they’re set for a certain sound. That’s a big, wide-open drum sound, and the R&B set is muffled a lot, and things are higher pitched.
“The other set I have for television work is single headed, and the sizes range from 6″, 8″, 10″, 12″ and two 14’s.” With the bottom heads off, it gets a nice live sound. The bass drum is also 22″. That set is a plexi glass, while the other two are wood, and on that set I use Remo Diplomats. On the R&B set, I use Ambassadors on the tops and bottoms, and on the rock set, I use Pinstripes on the tops and bottoms.
“I also carry a case with six snare drums in it, because the acoustics in a studio are such that the snare drums are real special. If a drum doesn’t sound good in a room, sometimes I can alleviate the problem with a different snare. I have three metals and three woods, one piccolo.”
He uses various Zildjian cymbals, depending upon what may be required of a specific situation. Some of the cymbals include a 22″ A. Zildjian, an 18″ K. Zildjian, a 14″ or 16″ crash cymbal, a small 6″ he uses for certain effects, a Chinese cymbal, and an assortment of hi-hats.
He also utilizes a variety of sticks, including 5B, 2B and 5A Bunken Sticks, Regal Tip Combos, for sambas and bossa novas, and jazz models. Depending on the desired sound, he sometimes leaves the plastic bead on the Regal Tip stick and other times he removes it. “I even played with a hanger on some movie I did, and it gave me a real light, tinny kind of effect. At one point, I wanted to take a drum stick and put just one strand of hanger on it. It gets a beautiful sound.”
Mason also has the entire line of Premier timpani, as well as, marimbas, vibes, bells, chimes and a xylophone. He has three large percussion cases filled with all kinds of percussion instruments, and a Latin case with congas, bongos, and other Latin instruments.
His live set consists of a single-headed, 22″ bass drum, and eight double headed toms, in sizes (2) 10″, (2) 12″, (2) 13″ and a 16″ and 18″. His snare is a 8 ½ x 14, and his cymbals include a 22″ ride, 22″ China type, 16″ crash, 18″ crash, 8″ splash and 14″ hi-hats.
“They’re the same as the doubleheads I use in the studio, except they’re not muffled. They’re real live and the pitches between the drums are pronounced, so it sounds real crisp and clean. A lot of times in the studio, the drums are so muffled and so low, you don’t get help from the drum at all. When you play live, all of a sudden, the drums come alive. The double heads give more resonance, and it’s beautiful.
“I can’t really verbalize how I tune, but recently, with my live drums, I did nail my tuning down. Each drum, depending on the size, has a resonance, a quality where it sounds incredible, and out of that range, it doesn’t sound good, no matter what you do. So, if you have any kind of ear at all and a feel for the drum, you just find the range where the drum sounds good, tune it there, and it works. My live drums are tuned a step and a half between each drum, generally speaking, and it was so good that I even put the notes on the drums to save me the time of having to go through the pains of finding where it sounded so good. That’s the only time I’ve been able to lock into it like that. Especially in the studio, because the acoustics of each room with the traps, and the way they’re built, and where the drums are, make it almost impossible to have a consistent drum sound, where you don’t touch it from room to room. That’s one thing about New York; they always have the drums in the studio. Even though they may not be that good, they’re there, and usually they’re tuned to the acoustics of the studio, and they leave them close to where they’re going to be. A lot of times I’ll take drums to New York anyway, though, depending on the date. As far as tuning tips, I can’t say what note the drum will be at. I generally keep the top head looser than the bottom head, and I try to keep tension on the drums all the way around, unless I want a specific sound where I’ll loosen up a lug for an effect or something.”
Recently he has been exploring the LM-1 Drum Computer, and even used it on three tracks of Lee Ritenour’s record. “It’s a means by which they take a drum sound from digital recordings and put it on digital chips. It’s like a computer, and they put it in a drum machine, and you can program it to play a song all the way through with fills and everything, and it’s great. You just do the homework at home, push a button and it plays. Sometimes when I produce, I don’t want to play and do two things at once, so I’ll use it. It sounds just like a drummer and it’s incredible.”
At 33, Mason is pleased that he looked ahead as a youngster and prepared for all his varied musical interests.
“When I first got into the studio, I figured I had a life expectancy of being a top studio drummer for five years, based on how styles and trends would go, but I’ve done a little better,” he concluded with a smile.