INTERVIEW

46 DRUMMER September 2011

Sticking with thePlan Words: Nick Carter

Let’s start at the beginning, where it all began: “I was raised in the East End of London and started playing drums at the age of 11. I’m mostly self-taught, but when I was at college I was lucky enough to have a few drum lessons with Bob Armstrong. In that short time he helped my technique, my reading, and he taught me how to approach playing a groove … playing grace notes, playing the hats quieter while trying to maintain a louder, even volume on the kick and snare. He also introduced me to the mambo beat and how to play the clavé.

“I was infl uenced from an early age by many great drummers, including Dave Weckl, Lenny White, Dennis Chambers, Mark Mondesir, Steve Gadd, Sheila E and John Robinson, and later I got into Bernard Purdie and Tony Royster Jr. I would also recommend checking out Dexter Hercules. He plays for Eliza Doolittle and they supported us on a few Plan B dates in the States; he’s really good!”

Taking care of businessSolid beginnings, I’m sure you’ll agree. But we’re yet to learn how Cassell progressed from student to busy professional with a killer CV. “Gigs-wise, my process was to get in a good band that allowed me to play regularly and experiment. I was in a jazz/fusion band called Quite Sane. We supported the late, great James Brown and did a joint performance with � e Roots at their fi rst appearance at the Jazz Café. I went on to play and produce many diff erent music genres and work with diff erent artists, which led me to tour Europe with Keziah Jones.

Every drummer, nay percussionist, is unique. Everyone’s story is diff erent. But many of the artists – of all generations, cultures and musical subgenres – that are

featured in the pages of Drummer have their own way of delivering a similar message: being a professional musician is about much more than having the best technique or the fastest chops, or pulling off the most complex of rhythms. Aside from being an advanced musician (note, I didn’t say drummer), it also comes down to hard work, perseverance, personality and the vibe you give off to those around you. � ey need to want to work with you. But less talked about is the ability to turn your hand to other areas within the music – going beyond the drums. � is is where Cassell ‘� e Beatmaker’ really shines; as a drummer he currently occupies the throne for not one, but two of the highest-profi le gigs in the UK, providing the beats for both Plan B and � e Streets (he performed with both artists at this year’s Glastonbury festival). But he’s also an experienced writer and producer. He has his own publishing deal with Sony/ATV, following his writing work on Plan B’s number 1 album, � e Defamation Of Strickland Banks. He’s often busy writing and recording for TV and fi lm, producing drum sample CDs and providing educational workshops in schools across the UK and Far East. Why have we not read Cassell’s story sooner? As we are about to learn, Cassell has his own message – his own way of imparting his experiences to help those of us that aspire to join the ranks of the pros.

“My biggest break came when I was asked to be the resident drummer at a small event in London, simply called ‘Live’. � is is where I met and performed with a lot of up-and-coming artists. I met Plan B and [rapper] Akala at this event and went on to work with them both as a drummer/writer/producer in the studio and out on tour.”

Writing and producing are intangible skills that one can’t practise to get better at. Not in the same way that you can practise a paradiddle for example; get it tight, make it musical and apply it to your vocabulary. Writing and production skills are learned through experience. Not so easy, then to acquire them. � at didn’t stop Cassell! “I successfully applied for a business development loan from � e Prince’s Trust, after which I set up my own production studio. At the heart of that was my love of hip hop, which is where I began working with many of the musicians I met through the ‘Live’ gig. Working in diff erent areas and roles within music has provided me with the knowledge to deal with and maintain a steady work fl ow; the best way I found to have a successful career is to work with people you believe in, whether they’re signed or not. Most of the time, like with Ben [Drew, aka Plan B], who I’ve had the pleasure of seeing grow as a very talented musician and fi lm director, you start with them at the beginning of their career and you become involved in something great that has taken time, often years, to develop and become commercially successful. And being involved in successful projects has had a great knock-on eff ect for me, leading to me working with more and more signed artists and labels. Another positive aspect to having diff erent sides to my musical life is that producing and songwriting has a great infl uence on me as a drummer. It allows me to look at a piece of music as a whole and helps me to decide on how to approach

Drummer, writer, producer and educator, Cassell ‘The Beatmaker’ gives Drummer an inside look on how he came to be THE beatmaker.

Cassel The Beatmaker_JTS.indd 34 10/08/2011 12:17

“The best way I found to have

a successful career is to work

with people you believe in,

whether they’re signed or not”

CASSELL ‘THE BEATMAKER’

September 2011 DRUMMER 47

“The best way I found to have

a successful career is to work

with people you believe in,

whether they’re signed or not”

Cassel The Beatmaker_JTS.indd 35 10/08/2011 12:17

INTERVIEW

the drum part. As a drummer, you learn all these great new drum rolls and complicated patterns, which are great for drum clinics, but when recording or playing live I feel that in most songs the main role of the drummer is to maintain a great feel and tight groove that makes your listener want to dance. � e trick is not to overplay. Yeah, I’m impressed by how a drummer can solo, but more importantly how they can make the simplest beat have the greatest feel.”

Gourmet drummingLet’s revisit an earlier point. Get the gig, present yourself well, and people, important people, will want to work with you. And it’s contacts in this business that get you your next gig. Cassell explains: “While I was writing and recording with Plan B I received a phone call from Mick Shiner, the publisher for both Plan B and � e Streets, who informed me that Mike Skinner was looking for a new drummer and asked would I be interested? A few months later while I was in Germany recording and writing with Akala, Mike Skinner called to ask me to come down and have a play with the band to see if the feel was right – just because I’d been recommended by Mick Shiner and their bass player Wayne Bennett. It sounded cool, so we arranged to meet up at Terminal Studios a few weeks later, where we rehearsed for about an hour, then went to the pub to chat. � e rehearsal was just to verify I was the type of drummer that Mike was looking for. One of the fi rst things Mike said to me was that he didn’t want a drummer who was going to play fi lls all over his music, but someone who could lock the beats down, as well as having an understanding of using music software and triggers. He said my job, along with the bass player, was to make sure that the foundations were solid … making a solid

groove become the heart of the band. � at suited my style of playing perfectly as that’s the way I love my drumming to sound; I call it the ‘meat and potatoes’. I’ve been playing with � e Streets for about four years now and it has been amazing; I’ve always enjoyed Mike’s music, so playing with the band has been a dream come true!”

So, you’ve got your ‘meat and potatoes’, how about a slice of humble pie to go with that? Cassell reminds us that, just because you happen to have landed yourself a couple of huge gigs, you shouldn’t forget your roots. “I enjoy working with a friend of mine who runs rhythm workshops in schools under the company Bassistry Arts. We work with kids from kindergarten through to college students, introducing them to diff erent rhythms from around the world. � e teachers are always amazed at the hidden talent within the classes and how well the kids concentrate and focus on what we show them. � is, for me, is really rewarding and it allows me to share my knowledge, especially with the older kids, on what it’s like to be a musician. I think young, developing drummers should really try and do well at school, try and get a backup plan while honing their skills. Learning diff erent languages is always a bonus, especially when touring in diff erent countries. Also, play as many diff erent styles as possible and try to remain patient and focused: success rarely happens overnight, and the best successes come from long hours of hard work. You will encounter good and bad performances, but all are useful and build up your experience, and any experience will help you in your future career. Listen, learn, network and be humble.”

Looking aheadWith so much achieved in his career so far, and with so many diff erent aspects to think

about, where does the next challenge, the next achievement come from? “Well, at the moment I’ve been juggling a lot of roles within the industry, which has been great. I’m going to be doing more writing for Sony, touring with � e Streets, Akala and Plan B, as well as writing on Plan B’s next two albums. I also want to fi t in some more workshops with Bassistry Arts, and hopefully try and maintain a steady workfl ow, both live and in the studio. I really want to continue to be a part of creating new music that becomes successful. It’s all go!”

Cassell portrays such a strong, energetic work ethic and his positive outlook on life is infectious. Just talking to the man makes you believe. It looks like Cassell is going to easily fulfi l his intent of remaining very busy for quite some time to come. � ere’s another message, right there, albeit an inadvertent one. Be positive … others will catch on. It’s worked for Cassell!www.thebeatmakers.com

48 DRUMMER September 2011

Drums: PremierPremier Series Elite in Purple Sparkle Fade Lacquer10” x 8” Maple Quick Tom12” x 9” Maple Quick Tom14” x 14” Maple Floor Tom16” x 16” Maple Floor Tom22” x 20” Maple Bass Drum14” x 8” Maple Snare Drum

Modern Classic14” x 7” Hammered Brass Snare Drum

Cymbals: Zildjian8” K Splash 9.5” ZIL-BEL Large 13” A Custom Mastersound Hi-Hats14” A Zildjian Quick Beat Hi-Hats 16” A Custom EFX 16” Z Custom EFX and 16” K Dark crash (used as hi-hats) 18” K Dark Medium Thin Crash 18” A Custom EFX 18” FX Spiral Trash 20” Crash of Doom 21” Z3 Mega Bell Ride

Heads: REMO

Sticks: Vic Firth

Electronics: Roland

GEAR BOX“I’m impressed by how a drummer can solo, but more importantly how they can make the simplest beat have the greatest feel”

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