Blonde Ambition
by Kristina Feliciano

Denise Fraser has played drums for mighty real comedian/actress/author/singer (and longtime fave of all of us here at drummergirl) Sandra Bernhard for over 10 years now. It's a gig that has brought her from Los Angeles to far-and-away places like England, Scotland, Australia, and, most recently, Broadway, where Sandra's latest show, I'm Still Here…Damn It!, enjoyed a successful two-month run. When I spoke to her, Denise was relaxing for a few weeks in the big city before leaving for San Francisco, where I'm Still Here will play a three-week engagement (Feb. 2-28) at Theatre in the Square. Denise, who organized Modern Drummer's excellent "Female Drummers Roundtable" article a couple of years ago, told me all about how the learning process never stops - which is fine with her because she's happiest when she's playing.

drummergirl: Is there any difference between playing a show like Sandra's and playing a straightforward music-only show or concert?
Denise Fraser: There is a lot of difference. We take a lot of cues off of her spoken monologue. And there's a lot of music in her show. You just basically have to be really on your toes because she likes to challenge the band and, depending on the audience or her mood. … In a 3-hour R&B gig, for example, you're just playing these songs for 3 hours. It's a straight gig blowing out one tune after the other. But with Sandra, you really have to listen, you have to almost learn her script, not only know your music and when you come in. You have to always listen to where she's going with great intensity.

dg: What was the rehearsal process for the show like, and how long did the show run?
DF: We rehearsed for a couple of weeks every day, just the band. And we had these two women here in NY that are really amazing, Bernadette O'Reilly and Eve Nelson, and they came in and arranged the music with us. They were a very intricate part, with us, of making the music happen. And then Sandra came in about the last week or so. By the time Sandra came in, the band was already together. The show ran for 2 months on Broadway [and for about 3 months at the Westbeth]. With great reviews.

dg: Most Broadway shows are presented 8 times a week. What are the challenges of playing such an intense schedule?
DF: We performed 6 shows a week, Monday through Saturday, no matinees, just an 8 o'clock performance. I didn't feel that it was intense. It was just a pleasure walking out there onstage every night. I absolutely loved doing the show. Because I love to perform. I never felt like this was intense. It was nice when we would have our one day off, but I always looked forward to going back and doing the show again.

dg: What kind of music do you usually play, and what are your favorite kinds of gigs?
DF: The kinds of music I usually play would be R&B, and I play a lot of blues, jazz, rock, and some pop and country. I pretty much play everything except for fusion. I really love big-band music, like swing. My favorite kinds of gigs are when you know that the band you're playing with, that everyone is in the pocket with one another. So it doesn't matter what kind of gig, just that the band you're playing with is grooving. I can get just as much fulfillment playing in some club with an R&B band as I can with Sandra's band. Of course, when I play with Sandra, that's the largest audience I experience. My favorite thing…is walking out and seeing a sold-out audience.

dg: How did you get started playing the drums?
DF: My parents gave me a drum set when I was four. I asked them for it. From the beginning they were very, very supportive. They were never like, "Oh, girls can't play drums." They were completely the opposite. They knew that it was something I wanted to do and was in my heart. They started me on lessons when I was 10.

dg: Where do you stand on the self-taught versus schooled issue? Do you think taking lessons makes a difference?
DF: I think taking lessons makes a huge difference. I do know of some amazing drummers who are self-taught. And it's kind of like, whatever works for you. For myself, I knew at an early age that I had a natural ability, and I really am very happy that I started taking lessons at such an early age and continued for years. I think it helps you understand your instrument, and it helps you understand other instruments, what everyone else is doing when you're playing. It helps you put the whole picture in perspective. And still to this day, I will go and take lessons. When I feel like I need to brush up on a few things or learn a different style, I will definitely take lessons. I study with guys that are like major studio players, and they're still taking lessons. It doesn't hurt, most definitely.

dg: Who are your influences, and what is it about their playing that you admire?
DF: Jeff Porcaro is my biggest influence. Jim Keltner. Bernard Purdy. Buddy Rich. Kenny Aranoff. Buddy Rich is someone who was self-taught, couldn't read a note of music. But I was really obsessed with him when I was a kid. The reason why I listen to these guys the most - I also really like Omar Hakim, who used to play with Sting - but I listen to these guys because they're more groove-oriented drummers. They lay down a groove, they can make a groove feel so good. Although I totally admire guys like Vinnie Colaiuta and Dave Weckl, they're very much into their chops, and … it hits me more to the heart if I listen to a Jeff Porcaro groove than a guy who's playing every chop he's ever learned. I grew up listening to a lot of Motown, James Brown and those guys.

dg: What are your favorite sticks?
DF: Vic Firth American Classic 5A's

dg: Do you practice or pursue side projects between gigs?
DF: Absolutely. I think it's important no matter what gig you may be doing to continue your practicing. You will always come up with something new and different. I do a lot of side projects backing up other singers. And I also had my own band for three years, the Denise Fraser band. We performed as the house band for several hit TV sitcoms.

dg: What, if any, difference has it made being a female and pursuing a career as a drummer?
DF: Being a female, in some ways I feel like I have to prove myself even more. But I don't think about it. I don't make it an issue in my career. If I walk into a rehearsal and it's my first rehearsal and it's with 5 or 6 guys I've never met before, I don't go, "Oh my god, I'm a female drummer." I go, "I'm a drummer." But because of the business, I do sometimes feel like I have to prove myself even more. I do feel that it's changed a lot, though. I started playing years ago. In the early '70s, the only reference they had was, "Oh, you're like Karen Carpenter." But now there are so many wonderful female drummers. And it's not such a big issue. I've played in LA with some really top-notch guys, and it's not even an issue. It's basically, you can either do the job or you can't. But when I did my first recording sessions, I remember a producer being very skeptical. He hadn't even heard me play yet and he wasn't even going to give me a chance, just based on the fact that I was a woman. So I had to just sit at the drums and really just play with even more conviction. You're sitting there and it's kind of like the boys' club, and you have to prove you're capable of playing with the big boys and you're not just a cheerleader on the side. But it has changed a lot.

dg: Tell us about one positive and one negative drumming experience you've had.
DF: The one negative experience is when I was the drummer of a band and knew the music and knew all the drum parts and some producer came in and immediately took me off the drums and brought in some guy. He didn't even want to hear me, didn't want to give me a chance, and basically just looked at me and said, "No woman can play the drums." And I said, "You obviously never heard of Sheila E." And he said, "I don't care. No woman can play the drums." That was a hugely negative experience. That one particular guy…he had a major issue with women. I could have been anyone. He would have done the same thing with Sheila E. or Kate [Schellenbach] or any other drummer. He probably hates his mother. The positive is just the fact that I'm still playing and that I love it so much. And I know that I have touched people with my playing. I know that sounds corny, but people come up to me and say they really enjoyed my playing. I play with a lot of energy. If I can make somebody feel good by watching me play, that's the biggest positive, that's the biggest high for me.

dg: Are there any resources you'd recommend to aspiring drummers?
DF: I would say go and check out as many drummers as you can. You can learn so much by watching another drummer. Listen to a lot of CDs with a lot of different styles of music. And try to figure out what the drummer is playing and why he or she chose to play that. Kind of almost analyze what's going on. You can play a groove so many different ways just by adding little nuance, so challenge yourself.

dg: What's one thing about being a professional drummer that most people wouldn't expect would be the case?
DF: That you have to continue practicing. Sometimes people say to me, "You still practice?" [You're skill relies on] the work and the dedication that you put into it. The never-ending effort. Just keeping up your chops. I think the average person thinks you reach a certain level and you just don't practice anymore. Like the drummer who's playing with Whitney Houston, why would he need to practice? But he's practicing every day. It's a never-ending thing. You continue to grow and keep yourself inspired all the time.

dg: What are your aspirations as a drummer?
DF: To continue to grow and challenge myself musically. To play with great musicians and artists.

dg: What would you be doing if you weren't a drummer?
DF: I'd be a professional photographer. I love it.

I'm Still Here…Damn It! may be coming to a theater near you. Starting in March, the show is tentatively scheduled to hit Seattle, Boston, and maybe Miami. So check out Denise (and, of course, Miss Sandra).