When the songs pop out, that's like the climax of us building.
When the snares don't hit together, it's just the most awful thing to hear.
We knew we wanted to take the strong points of our groove and emphasize them as well, and we knew we wanted to just totally experiment.
We knew we wanted to put a lot of melody into it - a lot more than what we did on our first album.
Sometimes the band can't fully hear your fill, so they come in differently. So I've also learned not to really step out too much, because you sacrifice the band when you do that.
Onstage, it's more of a momentary pressure.
Jazz was more of a tool for me to use to enhance my musicality.
I've always liked funk and rock and everything.
I'd take the syncopation and play swing, and then read the syncopation lines with my left hand.
I was really conscious of that when I went in because I felt that I was pretty solid on the first one, but I didn't have the groove exactly where I wanted it.
I usually go with the first instinct, and then build upon that.
I really just wanted to play the drum set and match that. I was never really into the percussion thing.
I liked how it came out, and that's one thing I really was always thinking about, my meter. It's got to groove. It's got to move people.
Even on the drum level, it's all about stating your theme, going back to certain things that need to be emphasized, not doing fills for the sake of doing fills.
But I've gravitated more towards the drum set.
When I was young, I had one of those Yamaha drum machines, and I used to practice to that quite a bit, just to practice soloing and being in time and completing all my phrases.
I think jazz is a wonderful learning tool.
We've got many different sides of music to us.
It's all about theme and development anyway. That's what music is about.