BY ERIC EVERETT | FROM THE SUMMER 2019 ISSUE OF DRUM!
She’s been an integral half of celebrity bands, cast her personal path as a successful solo artist and songwriter, and handled more genres than a backline package in a busy L.A. nightclub. Now, on her latest album, Iconic: Message four America, Sheila E. takes on the political local weather of the nation with a targeted tour by way of music history. Setting the good tone for this 15-song collection of covers is the U.S. nationwide anthem, sung over a triplet swing and funky rhythm guitar lick, with an organ humming the chords in the final half of the tune. It’s a household affair—Juan and Pete Escovedo deal with the congas, with percussion by Peter Michael Escovedo.
Iconic features Sheila on drums and vocals, of course, with a lot of visitors: Beatles tunes embrace Ringo Starr, a Sly & The Family Stone music features Freddie Stone, a James Brown medley options Bootsy Collins—you get the image. We caught up with the iconic drummer, percussionist, and singer about the message behind the music and how rising up round music legends shaped her own type.
Many of the songs on Iconic have been driven by political change. Do you discover that you simply went back to those songs because they’ve offered a sure consolation or therapeutic?
Not necessarily. A couple years ago I put a folder collectively referred to as Politically Right. I knew that it will in all probability take me a yr to put in writing the album. Lyrically, I’m saying the issues that I’d wish to say and hadn’t spoken about it shortly. That was as a consequence of all the killings of young individuals, the police shootings, youngsters capturing one another, and the turmoil with youth and other people of shade. I knew I used to be going to discuss that, however issues have been occurring so quick that I assumed, Let’s speak to my group. Let’s take some songs that I grew up listening to which might be still related.
There are so much of songs, and we had a plethora of choices to choose from—particularly rising up at that time, with my dad and Azteca, the band he used to have together with his brothers. I went again to seek out the ones that may work for the document, to put it out with what it meant to me, and be relevant now.
I listened to “Inner City Blues/Trouble Man” and A-B’ed your version with Marvin Gaye’s unique. The relaxed conga beat at the beginning of each the unique “Inner City Blues” and your model was so lovely to hear back-to-back. Although it has your signature on it, the manufacturing value and the arrangements have been spot-on.
Once I first discovered congas, “What’s Going On” was out, and for those who needed to play percussion, that was one of the conga beats you had to know. To have the ability to play that and to play with Marvin on his final tour . . . it’s one of my favorite beats. It’s what that music wants, and it stands proud whenever you hear it. It’s identical to, Wow, that’s cool. It is sensible.
Your cover of “Come Together” has a real power behind it and a timeless urgency to unite.
At first, I performed drums, but I knew I needed Ringo to play. I knew I needed a unique aspect, like I did with “Inner City Blues” by including “Trouble Man.” I needed to do the similar with “Come Together” and add another Beatles music, “Revolution.” I additionally did this with Prince’s “America” by adding one other music, “Free.” That was the level in making an attempt to do one music and add the other—simply to point out they’re each still related.
If you did the albums with Prince—Around The World In A Day, Signal O’ The Occasions, Madhouse, and different aspect tasks—how concerned have been you in terms of the percussion elements? On a track like “U Got The Look,” it looks like Prince gave you carte blanche. How did you write and work with him as a drummer?
It’s two different things as a drummer and as a percussionist, but every part you hear me play is all me. He liked what I played. He was like, “Bring it on!” I’d give him more than he requested for and we’d work it out. Typically he’d use it all or put it on the prolonged version.
Signal O’ The Occasions was variety of cool because I needed to play drums and he stated, “Well, let’s do it.” He expanded the Revolution—I introduced half of my band, he introduced half of his. I was his musical director throughout that time. We recorded every thing together in the studio for that report too, however I was the just one who knew the place every thing was. It wasn’t like we have been recording digitally. We had tapes, 24 tracks. If we played them collectively it was 48, barely. In doing so, enjoying all the percussion and totally different samples and sounds that we had, I knew the place they have been because I used to be in the studio with him.
Your musical pedigree and lineage is one-of-a-kind and beyond spectacular. Your father, Peter, and his brothers are world-class percussionists and founding members of Santana, and your godfather is Tito Puente, the prime mover of Latin percussion.
We are one of perhaps two families that still play together and play percussion. That’s pretty rare, particularly with my dad being the age that he is now and still performing. It’s a miracle in itself.
You started as a toddler performer, enjoying with your family at age 5. Obviously, your father saw and nurtured your natural talent. Are you able to touch in your evolution as a toddler performer?
My dad was considerably of a instructor and my mentor. To have the ability to watch and hear him every single day, I absorbed that like a sponge. Subconsciously, if you’re around it, you decide issues up. Watching him training, the jam periods at the house, bands coming over . . . I mean, how awesome is that? As soon as every week, to be able to hear a reside band in your front room—being round music always and half of an enormous family—is pretty particular.
Did you begin congas and timbales and then move to drum set? Or did you study all these devices collectively at the similar time?
No. It was principally congas first—congas for a really very long time. Then at 15 I borrowed my cousin’s drum set to audition for an area band, despite the fact that I’d never performed drums before. I requested him to point out me learn how to set up drums, to ensure I appeared like I knew what I used to be doing. I auditioned for the band, which was a knock-off of a Santana band with younger youngsters my age, and I received the gig instantly. I played drums for a really brief time—another drummer got here to city with a PA, and we knew we’d get better gigs bringing in our personal gear—after which I switched back to congas.
We might undoubtedly be the spotlight of the family events, which have been principally “Showtime.” We did dance routines, mimicking James Brown, The Temptations, The Jackson Five, Stevie Marvel—it didn’t matter who it was. We might emulate every Motown artist and dance, and then we might play salsa music. My grandpa, being Hispanic, Mexican, and Indian, spoke English rather a lot, however he additionally liked to speak Spanish to his youngsters, and he would sing to us in Spanish. So then we had the mariachi music too.
We have now so many sorts of music in our family, from Mexican to Tex-Mex, salsa, Latin jazz, Motown, James Brown, and R&B. You then’ve acquired fusion. It was simply unimaginable. My dad informed me at nine years previous that I ought to go and discover ways to play violin, so right here comes classical music. That upbringing, with totally different genres of music, made me the artist that I’m. If it weren’t for my dad bringing in every type of music, I wouldn’t continue to flourish and have the ability to fit in any state of affairs, to play with any artist in any style of music.
There are genres of music from villages and from nations I don’t know, every with totally different time signatures and particular issues that have to be performed. I don’t know all the things. But I know that what I grew up enjoying with the musicians that have been round me, and being raised in the Bay Space—a place the place the heartbeat was music—the cultural part of it was music, meals, and family. Growing up round all these musicians and artists, man, how might I not decide that up?
You discovered by means of osmosis. But did you get gigs with individuals like George Duke, Lionel Richie, and Marvin Gaye because you have been in that scene and your talent was exposed to these people? Or did your dad help propel you to make these relationships?
It undoubtedly began with Billy Cobham seeing my dad at a nightclub once I wasn’t even sufficiently old to be there. Billy introduced us to George Duke, who was performing at the Kool Jazz Pageant, and so have been we. George was multitalented in several genres too—he performed funk, R&B, Brazilian jazz, Latin jazz, whatever. We have been on these festivals with LTD, Kool & The Gang, Ashford & Simpson, George Benson, all these totally different R&B artists, so I used to be uncovered to that aspect of it.
Each time I performed someplace, someone was there. It was word of mouth. In addition to, when individuals knew that my dad and I had an album out, it simply continued to flourish. I was enjoying with my dad and Azteca at the time, and we have been additionally on the similar bill with Stevie Marvel, Earth, Wind & Hearth, and a pair of different huge artists. I play in another way with my dad than I might with George Duke or whomever. It began again once we have been enjoying with Billy Cobham.
You and your father released albums collectively?
Yes. Billy Cobham produced two albums for us: Solo Two and Glad Collectively on Fantasy Data.
Tell me more about this era with Billy Cobham.
When Billy produced our first report, I used to be 16 or 17. Watching his protocol, watching what he needed to do to heat up daily, I assumed, Man, that’s loopy to should do all that. That’s why he is so superb.
His method of warm-ups for hours, his rolls, singles, doubles, triples, quads, and the means he had a conversation together with his snare drum together with his again to the wall—it was loopy. The best way he rolled, the method his toms have been arrange, the sticks he used, how he tuned his drums, his double-kick pedal—I discovered by watching him. That’s how it all started. I was like, This man is unimaginable. Watching him play and enjoying with him, I discovered rather a lot
and then utilized some of that.
I all the time beloved enjoying funk and Latin jazz with my household and then adding the cowbell on the kick drum so that I can play all the cowbell elements with my dad. Each time I play with someone, even to this present day, I continue to be a scholar. I really like learning,
and I really feel that I get higher with time. I really like enjoying and performing. I typically really feel like I don’t do it sufficient because there’s a lot work behind the scenes to even get a exhibit the floor, do exhibits on weekends, or get a tour collectively.
There are numerous business elements to maintaining a profession on this business. There’s so much of talking, discussing, conferences, and issues like that. I like it once we get in a groove and a pocket the place we’re just enjoying every single day, and it’s just fairly awesome.