Wolfgang Huffner Biography

And this is far from a complete list. Tell me how you became a drummer.

Father played a key role in this, he played the organ in the church and also led the brass band. Somehow he focused on jazz and, being impressed, bought a shock unit in the parish. When I turned 6, he sat me behind the piano, but there were drums nearby. I said that I prefer the installation and he agreed, on the condition that I would be a diligent pianist. My father was the first to show me rhythms and with such luggage I began to play under the composition.

The older sisters had Pink Floyd, Bad Company and others from X, and I tried to play under them. At 12 he took the first lessons. From 12 to 16 I had as many as two local teachers, and I already began to think about whether to connect life with drums. I had four years of lessons, but much more I learned from the musical collection of relatives. At first I was more interested in rock because it was twisted on the box.

The rockers had large installations, and jazzmen had one suspended, floor and two plates, which did not look so cool when you were 10 years old. But in years, I also sat down on jazz and began to buy notes. At 18, I joined the jazz legend, thrombonist Albert Mangelsdorf Albert Mangelsdorff. He played for 20 years, we traveled all the white light, and this is how I became a professional drummer.

True, I soon began to listen to Fusion and many, many different music. How much was the church music had a great influence on you? Bach had the greatest influence on me. Father always put Bach at home. So you went to church? I sang in the choir, and my father is on the organ. You participated in so many records, what notes you would single out, for which you feel a special sense of pride?

It is worth mentioning the albums of the Metro group, not a specific song, but the musical energy of the group. For example, the Grapevine album and the song Grapevine. Let Nelson Rangell be in second place. We played all his hits from the soundtracks in front of a couple of thousands of spectators. I have goosebumps from the same thought, it is an amazing feeling to play with the maestro for the piano playing Mission Impossible.

I watched these films with my parents and now 30 years later, I play with the author, great sensations. Tell me about working with Michael Brekker. I played several albums. We played live on the strength three times, but I remembered one concert, since it was a significant moment in my musical career. We just gathered, a little rehearsed and immediately to recording a television concert.

The atmosphere at the concert was hot, everything was melting around. Even on DVD it is felt. Mike was one of the most pleasant people. He was very cheerful and all the time in music, rehearsed every second of life. And he achieved a lot, played on so many famous albums. And in life it is very simple, normal such a guy. You are 41 and you have more than an impressive resume.

Different generations of drummers worked and saw many with many. What do you think that has changed in the industry over the past 10 years? One moment drives me crazy, this is that the last 12 years, the most important element has become a technique, wherever you look. I'm not interested. Some of my friends, such as Thomas Lang have succeeded in this. Thomas is a great example, because he is a great musician, an amazing level, with the help of his skills creates music.

At the same time, most are simply doing, and I don’t even know why. Of course, there are magnificent young guys, such as Marvin Mcquitty. Very musical, with a powerful presentation plays for music. And if we talk about musical drummers, I will not forget to mention the two most interesting ones: Bill Stewart and Brian Blade. Music, music and only music ... What is happening on the musical stage in Germany now?

I see many young musicians oriented to music, and not necessarily drummers. I myself did not come to the profession from the musical family to declare to the world - I am the fastest drummer, which, of course, I am not. It happens that I do not sit down for the instrument for a week, because I produces or write music, which is more important to me. Before playing a batch of drums, I listen to what exactly will suit the song.

It is possible that a five -minute song requires only a light touch on a plate on the last lobe. I have the feeling that many, I can’t call them musicians, but rather the owners of the instrument, simply accommodate four tacts all that they can, no matter what song they play. You changed Paiste to Meinl, why is this solution suddenly? I started playing Paiste and never played anything else.

But after many years I was looking for a new sound. It's not about what is better or worse. On master classes, I say that I play Meinl, not because they are the best, but the best are not the best here, they are just the best for my taste. I helped develop a Meinl Byzance Jazz series and is pleased with the result. Ideal for me. I mainly use them. I have a nominal flat Ryad. I had a certain sound in my head and already on the prototype I got what I wanted.

What do you boast and what are the plans for the future? We played a tour of Asia, played in Korea and Japan.After that, a third month he traveled with his group in Europe. For three months I played in 20 countries. I give master classes with the support of Meinl and Yamaha.