World-class drummer and producer Tal Bergman has toured and recorded with some of the biggest names in show business, including Billy Idol, Rod Stewart, Joe Bonamassa,Chaka Khan, Loreena McKennitt, Simple Minds, LL Cool J, Joe Zawinul, Eric Johnson and Terrence Trent Darby. His musical versatility spans hard rock, funk, R&B and jazz. He was both associate producer and drummer on the platinum and Grammy nominated album “It Had To Be You: The Great American Songbook” by Rod Stewart (7 million album sales worldwide). Bergman is a master drummer; his highly sought-after rhythmic skills have been featured alongside such talents as Herb Alpert, Belinda Carlisle, Peter Cetera, Dave Mason, and MC Solaar. He has also composed the score for several movies, including “The Circle” (2005), “The Untold” (2002), “Dancing at the Blue Iguana” (2000), and “Kill Me Later” (2001). Tal is currently in Joe Bonamassa’s band and with Rock Candy Funk Party. – Tal Bergman’s Official Bio (Source: Online)
1. Please discuss the writing and recording process, as well as the ideas behind your latest work, RockCandyFunkParty’s, “Grooove Is King.”
Tal: “For this, we just got together pretty much in the studio. There are four to five of us in there. I’ve had this concept before going into the studio. The concept we all wanted to do was not based on the style of stuff we were going to do. It was based on the connecting thread of having really, really strong grooves. Strong grooves are what’s going to tie the record together. “Grooove Is King” relies on having a strong, fundamental, really powerful grooves that will hopefully not allow you to sit still (laughs).”
“In the studio we all came up with some ideas and then we were really happy with the groove we developed. Once we were really happy, we copied the ideas live. On this record, which is different from the last one, I focused more on the production. I was able to incorporate more layers than just two guitars. I could overdub and a lot of the times, really treating it like a pop record, even though it’s an instrumental and keeps all the live elements and interplay between the musicians. This is really important. It is them having to play at their best. There is no wizardry from fixing stuff in Protools.”
The Making of Grooove is King – Official RockCandyFunkParty EPK:
2. How important is the element of groove to the structure of a song?
Tal: “I think rhythm is everything. With any kind of note, if they’re not in any kind of rhythm, nothing can start from there. It all starts with rhythm. Groove is a very big word. You have groove in classical music and you have groove, I would say, in any kind of music. When it’s good it moves you. On this particular kind of music we are doing the grove is very obviously stated. Everybody can relate to it. Especially with all of our tunes, we chose more of the simple grooves that will talk to everybody. However, those are sometimes the hardest to do right. You’re not really hiding behind technique, chops, and all that stuff. Sometimes to play simple is the hardest thing. You really have to know how to do it so it feels really good. That takes years of experience I guess. You have to know everything so you know what not to use. It’s the same in every art form. Definitely on this record the “less is more” idea was always our approach. It was very important to come up with very strong bass lines that are hooks that people can relate to. We’re not speaking to a certain genre. If you listen to the record you can observe that it has a lot of colors in it that are more along the lines of breaking the rules. We don’t have to stick with anything. I think that in today’s world, in order to create something new, you have to break some rules. Especially with instrumental music, which we all know is not the most commercial choice. I’m very happy you wanted to even do an interview about it.”
3. How do you balance your creativity between your collaborative work and your personal projects?
Tal: “Obviously the personal projects, especially this record, took a lot of time to do right. It’s definitely a labor of love from all of us because it’s not anything we do for money and none of us is excepting to make any profit out of this. We do it for the pure enjoyment of making music, which is liberating because you know you’re not trying to create a commercial hit, especially with an instrumental, you are free to do whatever you want. The thing is, because of the kind of musicians that are involved, everybody knows what not to play and we all know the concept is very strong. We’re not making an album where everyone’s just showing off their chops and stuff like that. I find that boring after a minute. That competition makes me feel like I’m at the NAMM show.”
4. How did, and do, each of your collaborations with artists such as Rod Stewart and L.L. Cool J lead to the next one?
Tal: “Wow, that ’s a strong question. In my business, I’m a drummer, a producer, I do movie scores; it really is, I find, these connections are made by word of mouth. Thought the years I’ve learned that the best way for me is always to do what’s best for the music. If I’m brought something to play, I’m going to do the best I can do for the music and not my own ego. Then, hopefully people like what you do and hopefully they will call you again. I must admit I’m not a very good schmoozer. I’m still working on my website (laughs). If you love what you do and have a lot of patience. I think you also need to be very, very patient. Things always take way longer than you think. In times where nothing is happening you always have to remember that something is right around the corner. It takes time to create a name where people are calling you. We are also in that age where session work is not as much as it used to be and the record business is not what it used to be. What you need to do a lot of the time is create your own work. You cannot just sit at home and wait for someone to call you. If you want something really bad it’s going to happen for the right reasons. If you are doing something just to get famous, usually it’s not going to happen.”
5. In terms of your own way of hearing, how do you take in sound? How do you hear music? What sparks your inspiration for writing?
Tal: “I never really considered myself as a writer. I wouldn’t say I’m a song writer. I know people who are way better at that then me. I’m feel I’m a really good producer as well as coming up with concepts and thinking things through. I also know I pay a lot of attention to details and I’m extremely picky. I wouldn’t be described as easy, but I also don’t mind mistakes and stuff like that when I’m working because that’s what makes it natural. It’s fine.”
“The way I listen to music: If I listen to something and it creates a vibe in the room, an atmosphere, then I know it’s good. It can be any kind of music. I’m open minded and I love to listen to everything if it’s good. If it’s good it can be any kind of music. If you put Miles Davis in the room, suddenly it creates a whole other vibe. This is the same with any kind of music. If it’s really good when it comes across, it really makes you feel something. I always hope that when we do something, or when I do something, either people will hate it or love it. If it’s in the middle, then it’s not so good. Instincts are correct. You should always trust your instincts, ninety-nine percent of the time they are correct. They’re all we have anyway.”
6. What’s your favorite genre of music to play, record, or produce?
Tal: “I would say a lot of genres. If I do one more than the other, then I want to do something else. I love anything from beebop, to hardcore, to rock, to punk. I like pretty much every genre. Also, because I came from Isreal generally, I learned that I need to know how to play everything. That’s how I learned there. So, I was not only a rock drummer, or a jazz drummer, or a punk drummer. I play every style and I studied every style and I know how to play it for real, without faking it. What I really like the most, is to combine genres. For example, if I play a rock gig, I would throw some stuff from EDM music into it and do a lot of builds over it and stuff like that. I will incorporate that music with the rock music. The audience wouldn’t even know, but suddenly it sounds cool and it sounds modern; and vice versa. I love to combine and put stuff in different places just to give it more flavor and depth. I don’t even do it thinking, I’m just doing it because it comes to me. I’m not the kind of musician that thinks before he plays, it’s whatever comes to my mind. Hopefully it’s good.”
7. What do you love about playing music?
Tal: “I love it because I love the interplay. I love the fact that it’s very immediate. I love to play with people that listen and not just play. It’s a collaborative process. It’s a teamwork. When you play and everybody’s attention is there, it’s a great feeling. It’s like you get lost in it.
8. At what point did you realize you became your craft? When did you realize that drumming was intrinsic to you? With all the studying and all the listening you did, when did you feel that you found your formula?
Tal: “I don’t know if you ever to. I’ve been studying all the time and learning. Every time I work I see what I can do better. I’m learning all the time. Especially today, when you view YouTube you can see a lot of stuff that when you grew up you never even knew how to play. I started playing professionally when I was ten. So, it’s a work in progress. Always. It never finishes. The moment I feel that this is it, that will be the end of me.”
9. There are sixteen tracks on the new album “Grooove Is King”. Where did the inspiration come from to write this number of songs?
Tal: “It’s funny, when you’re with the right people material comes fast. We have two covers and also, don’t forget, we have Billy Gibbons. He’s the master of ceremony on this. So the covers are considered a track. These songs are not original, but for the CD’s and stuff they had to label it. In reality, we actually kept this one shorter than the first record, which was more, based on lack of time and budget, just playing live in the studio. Obviously we had more than what’s on the record, but we only kept working on the material we felt was really strong. Even though we threw out ideas, sometimes we would decide that something was not as strong as another. We know something was strong when it had a great vibe and that track would stay on the record. We know as soon as we play it how it feels.”
10. How did you title the tracks on “Groove Is King”? How did you make those decisions?
Tal: “You know that’s funny! I’m not really great with coming up with names. However, guys threw out names and we were saying, “Ok, that’s good, that’s good.” I could care less what the name is but if the name fits the vibe of the tune then it’s great. I also let Joe Bonamassa come up with the order of the CD because he’s amazing with that. Aside from being a talented musician, he really, really has a great knack for putting tracks in order. This also applies to live gigs were we say, “Hey man, you come up with the set list.” He has so much experience doing it and he’s really good at looking at the whole picture. So, the fact that he is coming up with the order of the tunes helps me also. You get the best people to do the best things.”
“This band has the chemistry to start with. Everybody has a lot of respect for each other. When we are in the studio, everybody leaves their egos outside. It’s really cool.”
11. Out of everyone you collaborated with what is a moment you’ve had with an artist such as Rod Stewart or L.L. Cool J that really stands out in your mind as a magical one?
Tal: “Well, all of the names you mentioned provided some big moments in my life. I remember playing with L.L. Cool J very well. It was for MTV Unplugged. I think this was the first time ever that rap was using live drums. It was during the time period of “Momma’s Gonna Knock You Out,” and all that stuff. We only did one rehearsal for it. It was also MC Lyte, Tribe Called Quest, Del La Soul, and L.L. Cool J. Even there, you could see how brilliant L.L. Cool J is. That’s how smart of a guy he is, and look where he is now. Even then, it was the first time he played with a band, and he was the only one who knew what to tell them to do and break it down. Right away, he saw all the potential with creating dynamics and stuff like that.”
“I remember De La Soul couldn’t understand why they didn’t hear the scratches. It was an acoustic piano, acoustic bass, two acoustic guitars, drums and conga, and they wanted to hear the scratches.” (laughs)
“I would say if anybody makes it more than five years, they are really good at what they do. I don’t care who it is or what you say, you don’t stay up there on that level if you’re not really hard working, really have something to offer, and are very talented. I do not argue with success. You like it or you don’t like it, that’s your prerogative. However, if somebody makes it for so many years you know they are really good at what they do. Looks can get you so far, connections will get you so far, but in reality you’ve got to be good at what you do and love it. There is a lot of musicians with the tools that can’t play. That’s not going to get you the gig.”
12. Why is music important?
Tal: “Music has been here forever and is form of communication on the deepest level. Everybody can relate to it from all kinds of walks of life. Imagine the world without music? I mean look, today everybody listens to music more than ever. Why do they listen to music? It gives a lot of space for imagination. When you listen to music, everybody hears it in a different way. It moves you. It also reminds you of certain times in your life. Different parts of music, or songs you liked when you were a kid can have this nostalgic affect. You cannot not listen to music.”
“Everything is music. If you walk down the street and you hear a rhythm you can make your own groove to it and come up with your own melodies for it. It’s everywhere. It’s powerful. It’s as natural as can be.”
13. Is there anything you want to say in closing?
Talk: “I hope people will really listen to “Grooove Is King.” This record is really made for having fun. We had a lot of fun doing it and the only reason this band exists is for pure joy. You can do many things to this music while you listen to it. You can drive the car to it. You can dance to it. I hope we’re going to continue doing it. In this day and age where everything is so commercial, its a refreshing set of tracks with great musicians playing on them. It’s a lot of fun. It’s easy on the ears. It’s made for everybody that really loves music, and for them to get lost while they are playing it. I suggest for people to play it loud or through their headphones and go about their day.”
Interview by: Laura DeSantis-Olsson