Any LA Music Academy graduates here?

[latim]

Hey Fellas,

Yes, the year at LAMA was an immense time of shedding, humbling, awareness, bonding, and inspiration.


I don't have my cirriculum with me on the road, but here is the layout of the 1 year (4 phase) schedule in a nutshell.


Before I get into drums, let's get to the primal needs of food. There is a dope restaurant across the street called Saladang. If you're on a budget, don't go too often. The Pad Thai noodles are around $7.50 to go, but it's stinkin' filling! If you're sitting in class with Ralph in room A, the smell of Thai from across the street will make you go crazy. On the same side of the street down Fair Oaks is Starbucks, Boston Market, and a Chinese Restaurant. If you walk down to Arroyo Parkway, you can also tear up some great Mexican burritos and fried zuchinni at Lucky Boy. If you like to drink and enjoy Stella Beer from an Irish Pub, look no further than the Lucky Baldwin's on Raymond Ave.


Class size: This is a HUGE reason why I chose LAMA over MI. You get more personal attention as the largest class size is 27 in a room. For a class that large, the ensembles are broken up into two groups so that you still get a whole lotta love.


Drum practice rooms: I think they should rename LAMA to LADA (Los Angeles Drum Academy). Much of the attention and focus goes to the drum department for some reason or other. Maybe it's cuz of our impressive lineup of staff. When I was there last year, the labs were only open until 1 in the morning. If you apply for next March, you'll be privileged to have a 24-hour facility. The priority of selecting drum labs goes to the senior class. You are allotted 2 hours of private drum lab time each day of the week. If you're late to your drum lab after 10 minutes, you have to give up your lab. You'll quickly learn whom of your peers will be shedders and those who will be slackers. You can most like grab the slackers hours and add that to your two to shed more hours each day. I usually averaged 8-10 hours like dachuch mentioned. If you're a sicky puppy, you can probably get away with jumping from room to room to practice over 12 hours. During that time, all the limbs start to tingle as you lose feeling.


Computers: In the piano room, you may see two workable computers. Hopefully one of those are mine that I donated as I helped with IT during my stay. Both are online for checking out the HOD message board!


Smoking: If you smoke, there is a patio outside near the Performance Hall.


Clinics: During my stay, I saw Planet X, Marco Minneman, Abe Sr., TRAP with Vinnie, Mark Schulman, Steve Smith (I missed their rehearsal on Saturday!), Robin DiMaggio, and others I forget. Dang early onset of Alzheimers.


OK. Here is the CLASS GHETUP.
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Sight-reading every morning of the week for an hour by Mike Packer for phases 1 and 2. It cuts down to half an hour for phases 3 and 4. The books that we went through were mostly from Charles Wilcoxon (The All American Drummer) and Mitchell Peters Intermediate and Advanced Snare Drum Studies. If I can quickly identify the technique and reading freak of the entire staff, it would have to be Mike Packer. He wrote a book called 'Feet Don't Fail Me Now' and 'Bass Drum Techniques' which I have on the road with me for leisure reading. Haha! This man was my favorite private teacher and kicked my ass each week in the drum lab.

Groove class by Mike Shapiro (Education Director, Latin Instructor, Funk Instructor, Music Listening Instructor, drummer for Kevyn Lettau, LA All Stars, Sergio Mendes, etc) which in part discussion and part ensemble workshop. This is for the first phase and is held every Wednesday around 1:30pm unless the schedule changed.

Percussion class is taught by Jerry Steinholtz. He played for many cats in the past and was one of the designers for Toca. Rather than explain, the website is http://www.jerrysteinholtz.com/. The second phase is switched up with Billy Hulting. His 411 is on here. http://www.zerobpm.com/billy/ Then third phase jumps back to Jerry, then Billy for the last phase.

Ralph Humphrey teaches Playing Techniques (1-4th phase), Ensemble Techniques (phase 1&2), and Rhythm Studies (phase 3&4) with his own book called 'Even In The Odds' which is probably inspired by all the sick time signatures used in the Zappa and Don Ellis band. If you're heavy into fusion, prog rock, indian rhythms (5s, 7s, 9s), this class will BLOW YOUR MIND until it hurts. If you're in LA, you'll find him playing at the Baked Potato among many other venues with Jerry Watts, Jimmy Mahlis, and Andy Suzuki for the band Babaganoush.

Joe Porcaro teaches jazz for the first two phases and swaps with Tony Inzalaco for the last two. Joe schools you for the whole year in the jazz ensemble. You might hear a count off 'A one, two, you know what to do'. I brought his book on tour to shed in my off days.

Tony also will guide you in tapping his gentle large bear hands on your back (more like driving his whole fist straight through your heart so you feel where the one should be) as you sight-read through your 3-horn and big band charts. 3 horn is for the first two phases and swapped over to big band for the last two phases. Keep in mind that the horns will be on the very back side, so you'll have to really light up the band and push them forward. Otherwise, they will drag you down and sink you faster than the Titanic.

When Joe or Tony are not available, Sherman "Fergy" Ferguson will sub and teach you about the 'auto-pilot'. He had some cool tricks up his sleeze.

Dave Beyer is the real Jack Black in the school of Rock. You'll go through the entire historical foundations of rock and roll and learn the elements of playing it authentically for each period starting from the very first rock song "Rock Around The Clock" by Bill Haley and the Comets. The first portion of the class is devoted to reading articles, cirriculum, song-listening, and analysis. The second half is devoted to performing your selected tune (4-7 songs to choose from) as you have about 2 weeks to shed them. This class is not confined to rock, but delves into reggae, ska, alternative, and other genres. This class goes for the first and second phase.

Aaron Serfarty will school you on the real origins of Latin music including Afro-Cuban, Afro-Carribean, and Brazillian as well as demystify the misconceptions of blanketing all Latin music. He also subs for Mike Shapiro in the Music Listening class when Mike is ripping it up in some part of the world. Remember, don't EVER cross the clave! Styles covered include the Samba, Mozambique, Partido Alto, Bossa Nova, Bayou rhythms, and such.This will be for phases 3 and 4.

Dave Pozzi teaches you theory for the entire year including harmony, triads, circle of fifths, chord construction, tritone substitutions, and all the stuff that will let others in the band know that you're a bonafide 'MUSICIAN'. This class is great for drummers who want a leg up on the competition by having the power to create things other than rhythm. You will also have a mandatory 2 phases of piano as you learn the major and minor scales. By the end of the 2nd phase, you will be tested on your cumulative knowledge of scales as well as play part a Minuet. He is also the ring leader for the three-horn and big band. Don't be offended if he calls you a little shit. It's the Italian in him that is prone to using Anglo-Saxon four letter words from time to time. Don't let that fool you though. He'll learn the names of everyone in class before the end of the day.

Funk class is taught by Mike Shapiro for the first two phases. The first half deal with the historical aspects of funk, song analysis, and learning how to make a roadmap of any song after a few listens. This is great for training to become session players who need to cram and play live or recording a few hours or even half hour before the show or session. This class itself paid for my break in getting the spot for a touring variety band. In my first audition, I knew 6 of the 75 cover tunes they tried me out on. Being allowed a second audition, I told them I'd work on the other 69 cover tunes and 28 original tunes. The second audition a week and a half later lasted for 8 hours. I got the gig.

You'll learn how to get into the mind and hands of each funk drummer where you're not allowed any room for creativity. Guys like Clyde Stubblefield and Jabo Starks already perfected the funk, so don't mess with what's fly. You'll first start off learning the 'Funky Drummer' at 95 bpm with 16th notes on your right hand (or left hand if you're a freak like me). This is where the incorporation of the French grip and finger drumming takes place. This ability will help you in every way for those hi-bpm samba tunes played over 120bpm.

Brazillian is taught by Mike Shapiro and Aaron Serfaty. If you get comfortable with playing the 'Funky Drummer' at 95 bpm with ease, Mike will probably allow you each week from start to build it up 5 bpms. This challenge will also vary depending on the aptitude of the group. The Samba rhythm will be recommended to play with your heel down. Most Brazillian drummers will attest to how LOUD American drummers play their music, so focus on intensity at a low volume. The bass player will already have the low-end down. This class is intermingled with Afro-Cuban along with a Batucada class which incorporates the use of the pandeiro, agogo bell, surdo drums, repenique drum, and shakers. You'll learn different calls of the Batucada and prepare a Samba/Reggae motif for graduation.

As a bonus, you'll be taking Music Business with Chris Fletcher for the second phase, Song Writing with Eric Lowen for fourth phase, and Studio Recording Band for the fourth phase. With the Studio Recording Band, you are selected among your peers as the drum staff decide the five drummers who will participate in the class. Due to time and budget constraints, they limit the seats to five. Consideration for the seat include class participation, good attendance, technical ability and progress, and bribery. I kid on the last criteria.

That's all I can remember for now.

If you have any further questions, please feel free to chime in!

Tim
(not in LA at the moment)

I should create a new display name called midwesttim.

[Suspiria]

Sheesh! Thanks so much for the reply. Thats more insight than I could have imagined. This was really a great read. It also shows that the academy seems tough as hell. I understand the atmosphere is great, but I assume its not the place to go if you want to mess around.

Thanks so much for this reply.

[Randy walker]

Pozzi was a sub for guys like Alan Vavrin when I was at MI. Nice guy

[drumkid]

Great post - really informative

perhaps lou.p should have checked this place out.

[jonthibault]

Very cool. They also have a video which they offer to mail you. I believe is still available on their website. I got it and it presents a nice overview of the place (and a quick shot of Vinnie).

[likedachuch]

great insights, Tim! great hearing from ya. hope the rest of the tour goes well. [img]smile.gif[/img]

[FuseU1]

"Goot Lawd," man!

That was very informative!

..And I think you just beat myself & a couple others here out for the longest post award [if that's possible]! [img]wink.gif[/img] [img]biggrin.gif[/img] [img]tongue.gif[/img] [img]cool.gif[/img]

I didn't know Shap was there too...

There def seems to be some good stuff goin' on over at "LADA" ;c)...

Now, SHHHHhhhh... [img]graemlins/shhh.gif[/img] Dont tell TOO many peeps all about it, as it'll ruin the school!! [img]wink.gif[/img] [like so many others I've heard about before, it would seem]

<font color="#a62a2a" size="1">[ November 23, 2004 12:10 PM: Message edited by: fuseU1 ]</font>

[latim]

Haha!

Thanks guys. I'm sad to confess that it wasn't me who saw this thread, but my good friend the grove (formerly f. carnivore) who is my bass partner in crime. It's a travesty when your bass player checks out this board more than you do. But then again, aren't bassist really closet drummers?

I failed to mention a few more things that I left off on my last short post. Here they are in no special order.


Music Listening: Mike Shapiro and Aaron Serfaty conduct this class each Friday for the entire year. The tunes you'll hear span all genres and eras. Be ready to discuss, argue, and interject during the class as Mike and Aaron love to engage (argue) in discussion with you. Hehe. In the final phase, you'll be assigned to bring your own tune, and discuss the facets of the tune which make it so intriguing to you. You'll be mentioning things such as originality, vocal qualities, characteristics of each instrument and how it contributes or stifles the song, interplay between drums and bass, level of creativity, etc. Be sure to handle criticism or dissenting opinions as the entire class can beg to differ with your selected song and question your sanity.


Music History: Ed Lucie (head of bass dept.) will give you very in-depth coverage of the start of monophony to the hybridization of eclectic musical forms you hear today. When Ed played for the Buddy Rich band, he shared of one very entertaining story that goes something like this. If you know Buddy, he's a quick-tempered band leader who'll have the predilection to fire musicians right on the spot. Well, on one session in front of a large crowd, Ed tragicaly broke a string during a tune. The crowd immediately saw that and honed in on Ed has he worked a mile a minute to pull off his broken string, reach in his case to grab a new one, tie it on, and retune. Part anxiety and part laughter permeate the room. Buddy then picks on to the commotion, and thinks the laughter is pointed at him. When he scans the audience to find their eyes fixed on Ed, he succesfully replaced the string and was playing the tune like nothing happened! You'll hear more of his cool stories in his New Yawk/Bwoston accent.


Drum labs: There are 10 numbered drum labs on the bottom floor of the 2-story building. Don't quote me on this, but the dimensions are roughly 6.5 feet by 10 feet. There are enough plugs to hook up all your little mixers, boombox, and other toys as well as cram in a bassist with mini-amp. If you'd rather take a nap, just bring in a subakawa pillow or jacket to hold up your head on the grey-carpeted floor. The lettered classrooms A-D are used for general class sessions during the day. After the classes are over, you can sign up for 2-hour slots at the front desk where Pablo and Marco usually regulate traffic and greet you with their hilarious personalities and warm smiles. Upstairs, there are two bass labs which are also available to book.


Ping Pong & Lounge area: Upstairs should be one functioning table, and one table good for practicing your hurdles for the olympics. I usually find that among all the nationalities that inhabit LAMA (lada), the Swedish guys kick ass on the table.


Vending Machines: There are four machines for your convenience when you just don't have the time or money to enjoy all the eateries on the Colorado Blvd. strip. The first machine is filled with packaged food items such as egg-sandwiches, apples, milk, white castle burgers, burritos, and salads. The next machine holds the coffee from Starbucks and other generic brands. The third machine is the soda pop vendor. The last machine next to the guitar lockers holds candy, gum, and chips. The dudes who replenish these machines also works at MI in case you've already gone to that institute.


Private Lessons: Considering things haven't changed, you'll be assigned one of the four instructors on facility for a 45-minute session each week. The teachers are Mike Packer, Dave Beyer, Paul Keiser, Bogie. For the third and fourth quarter, you'll have the option of either staying with your randomly assigned PI, or swapping out. Since 45-minutes is a brief amount of time (if you didn't work on the material, that 45 minutes will feel like an eternity as your teacher stares at you as you're in fetal position), be prepared to demonstrate as much of the assigned work you can reasonably get your hands on, and ask all the questions that are relevant to the lesson. Or, you can ask a bunch of questions inane to the lesson to kill time so that afterwards, you can kick yourself upside the head for being a slacker.


PARTIES!!
Welcoming students receive a pretty rad party with burgers cooked by Pablo, chips, and Tecate beer (unless the sponsor changed). You'll be entertained with music prepared by the class before you (3rd phasers or graduates) as you get to know your peers and staff. After your 2nd phase is over, the 4th phase graduating class will hold a student concert before they go off into the cruel world. There was another party that the school held, but I forgot cuz' I drank too much. j/k


Student Performances: During the 3rd phase, you can audition to be part of one of the following bands: Jazz (headed by Tony Inzalaco), Fusion (headed by Bill Fowler), Funk (headed by Bogie), or Rock band (headed by Dave Beyer). You can sign up to audition for only 2 of the 4 categories. If you're class is small, you may end up drumming for both bands if you get picked. Depending on your class size, the voting instructor for the audition can fill each band with two or more drummers. You will then prepare about 25-30 minutes of songs to be performed in front of peers and family at the end of the phase. A word of caution though. Your load of classes and materials to cover will already be overwhelming. Taking on this extra-cirricular is a bonus for freaks.

4th phase, there is an additional band you can audition for; the Latin Jazz band.


Lockers: You're assigned your own locker to be used for the duration of your stay. Furnish your own lock to hold your cymbals, books, and weed. Doh! Did I say weed? That only applies to those of you who are coming from Santa Barbara.


Drums: The labs and rooms have a 5-piece kit by Remo (Gold Crown: acousticon shells), Mapex M pro series and other, Sonor Force 1003 series, and some others. Each should have 2 cymbal stands and a hi-hat stand. You'll need to furnish your own bass drum pedal, cymbal sleeves, and cymbals.


Piano room: There is one very out-of-tune upright piano where Dave Pozzi teaches us 'little shits' to learn to identify augmented and demented chords. There are 6 desks with a keyboard on top of each. About 4 of the 6 work almost properly at any given point with headphones. No worries though, not many drummers are quick to jump into this room anyway unless they wanna impress a woman or man with their mad piano skillz.


Parking: I think it costed $100.00 per phase to get an assigned spot in the school lot. So it adds up if you're attending all year. I commuted a quick 13 minutes from Burbank, so that was cake zipping down the 134/210 at 75 mph. Fortunately, I never got a parking ticket as I planted my truck on the 2-hour zone from 5:45am until 11'ish at night. If you're coming from out of Cali or are not bringing your car, there is ample amount of metal grounded to concrete to lock up your bike.


Counseling/Conference Hours: Each of the staff have their designated hours for questions, gripes, and just to kick it with. To ask for a lesson during that hour would be pushing it. You can probably ask a few pointers and beats though.


Real Feel Pad: You're going to be needing this pad for your entire stay at school. These are the most quiet pads and most widely used. Don't bother bringing the Remo pads in as your stickings and misinterpretations of the morning sight-reading exercises will stick out like a sore thumb. You'll also be a menace to your peers and especially those that don't play drums!


Hmmm...I know I still am missing some information. In any case, hope you find this 411 of help. Email me if you have any more questions!

[pjvdr]

Hi Suspiria-

I graduated from the drum program in September 2003 and LOVED it!!! It was very challenging, especially during the last 6 months.

I think Tim covered a lot of what you need to know about how the school works, but just to give a basic idea:

1.) you get to play with pros everyday in ensembles coached by guys like Ralph Humphrey, Joe Porcaro, Mike Shapiro.
2.) the faculty is outstanding...great mix of real-world, experienced players and "name" musicians
3.) if you haven't visited the school yet, you should check it out to see how small and intimate the environment is...the ensembles I had were typically 15 students to one teacher, and my drum class was the biggest one to go through there (they had divided us into two groups to keep certain classes smaller)
4.) my playing improved in so many areas because of the styles/feel/overall musicality addressed in all classes.

Hope that helps! If you have any questions at all, please email and I'll be happy to answer them for you!

Paul

[GoMan]

Someday id really like to go to music school. Ive been playing a little under 2 years but I m already 19.... I really love drumming and practice about 2,3 hours per day and when I have the time maybe 4 hours... but I live in Hawaii so the standards are low here so I cant tell how good everyone else is outside....

How good do you have to be to go to school and make it worthwhile? Like looking at this LA Music Academy, it looks really good but how good would you have to be to make the studying worth it. If Im going, obviously I want to be the best I can be already but I dont want to be a joke.