We caught up with the brilliant and insightful Randy Gloss a few weeks ago and have shared our conversation below.
Randy, thanks for taking the time to share your stories with us today We’d love to hear about the best boss, mentor, or leader you’ve ever worked with.
I’ve had and still have some incredible mentors, to whom I owe so much. So I can surely share a story or anecdote, but please allow me to preface. As a musician looking at the grand scheme of things, music is taught/learned by older generations of musicians informing and passing along to younger generations. Throughout humanity, in any era, in any culture around the world, this is the general approach. I didn’t invent myself. I didn’t create what I do, nor did I spontaneously just exist. I was taught generously nurtured and supported, I listened and learned, and grew from that. I am an ever-growing and continually evolving artist, a work in progress. I have been blessed beyond belief to have several teachers and mentors who I hold in the highest regard, cherish, and try my best to honor through my own artistic life and work. It’s difficult to mention only one without feeling like I’m slighting others, but in my own narrative, and having to pick one person to mention, it must be John Bergamo.
I knew of John and his work as a percussionist and composer long before we ever met, having studied and been exposed to his work while I was an undergraduate music major (dual majoring in Percussion Performance and Jazz Studies). First, having studied and performed some of his percussion works, but then branching out to see how diverse, how immensely broad his palette of instruments and approaches, and scope and depth of knowledge was across those subjects. I was shocked and astounded by the idea and possibilities. During that time, I became voracious about studying drums and percussion and any/all related styles I could learn. Whatever I was exposed to regarding drumming and rhythm, I found endlessly fascinating. I often jokingly say, “I never met a drum I didn’t like”.
Flash-forward to a couple years post-graduation, I was eke-ing out a living solely from music (playing and teaching). However, I felt a strong sense of hitting ceilings, unable to break through to a higher level of opportunity. Feeling as though I had somehow peaked by age 24. I knew I needed more. More studies and training, but more ways to connect the dots so to speak, more opportunities to explore the endlessly vast world of drumming, and at the same time find my own voice as an artist, the narrative of my personal journey through music and drumming. This led me to the pivotal decision of applying to grad school. I applied to a handful of schools, mostly local (I was living in New York at the time, and not looking to relocate), with one exception, a bit whimsically I applied to one school in California, that altogether just seemed too far away and a bit too unreal. That was John Bergamo’s “Multi-Focus Percussion Program” and CalArts of that period, with all it’s openness, lack of restriction, and freedom. One day, while sitting in my apartment the phone rang, and my roommate announced, “it’s John Bergamo calling for you”. I was completely surprised and caught off guard as it was totally unexpected. Nervously I picked up and said hello, and from that moment the feeling was almost immediate. We spent over an hour talking about music and drumming, without ever even the slightest lull. When I got off the phone, I felt like a made a new best friend, and knew right then, that I’d be uprooting to start a new adventure under John’s mentorship.
So now that story – anecdote. My first private lesson with John, I recall meeting him in room B243 (which was the tabla room at CalArts at that time). The lights were off, and the room pitch dark. Thinking I was first to arrive, I turned the light switch on, only to startle a napping John Bergamo lying on the floor, which in turn startled me too. After getting past that shock, the lesson quickly began. He asked me, “do you know who Le Petomane was?” No, I answered. “Here, read this book and bring it back next week”. That was it. Within five minutes my first MFA major lesson (which was supposed to be one hour) was over, and I was back in the hallway with an assignment.
Before opening the book (a nicely bound hardcover edition I might add), I assumed it was some influential musician or composer that I was unaware of and should surely know about. So I quickly dove into the assignment. Well, many may already know about Le Petomane, but for those that don’t, as an artist he was a “fartist”, a flatulist. In the late 1800’s he was one of the most famous performers at the Moulin Rouge and quite a sensation. He would do tricks with his anus, blowing out candles, smoking cigarettes, and even and especially playing popular songs of the day by way of a flute, and even without.
The next week, I had my follow up lesson meeting with John. When I got there, he immediately asked, “did you read the book?”. Yes. “Do you have my book?” Yes, and handed it back to him, and that was it, he put it back in his bag, and not another word was said about it…ever. From there, we just began having our lessons.
What I didn’t know at that time, but immediately found out at every step, is that John taught by not-teaching. We never talked about any of it, let alone any central meaning. However, in hindsight and in this case, he sent me a very loud and clear non-verbal message to lighten up. At that time, admittedly I was quite serious, very eager, and perhaps a bit intense, and in the process maybe a little impatient with others as well. My take-away from the experience was that as a musician and percussionist we’re all really only a step away from being a fartist! A little perspective and humor, both of which John always seemed to have and offer in his way.
After graduation, John continued to be a true mentor, as well as dearest friend, family, colleague and bandmate. We formed what would become the award-winning percussion group, Hands On’Semble, that for 24 years, travelled the world performing and teaching, released five acclaimed albums, and played on multiple film soundtracks. He also at that time brought me in teach and assist him at CalArts and utimately groomed me for a position for several years before he retired, and spring boarded me into a more permanent place as faculty there, now in my 25th year. Well really it’s my 27th, as when I first graduated John used to pay me out of his pocket to teach some of his lessons for the first year and a half, before he secured an adjunct position for me, which steadily grew over time to become full-time. And forget about gigs and session work, he was so selfless and generous, often telling people who called to hire him to instead hire me, giving me my first big opportunities. I could go on and on and on, but as far as picking only one story, I think I’m going to stick with Le Petomane.
Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.
I’m a drummer, percussionist, composer, and educator and I’ve been continually playing and studying drums and percussion in one form or another since I was about 6 years old, I’m 52 now. Prior to that, I had about one year of guitar lessons, but I was so young, it’s really always been the drums, and as I mentioned before, “I never met a drum I didn’t like”.
To get a sense of my creative output, and from that, what might set me apart and what I’m proud of, it’s just that: my work, career, and the personal journey and individual path it’s taken over the past decades. I’ve been blessed to work with an incredibly broad array of acclaimed artists in recordings and performances across a multitude of genres, styles, and cultures. I’ve also released a multitude of my own critically received works (with Hands On’Semble, as well solo, and in collaboration with other artists). And as an educator have taught and lectured at many top music schools, universities and conservatories in the U.S. and abroad. I would encourage any reader wanting to know more about me to please visit my website: randygloss.com . I’m easily approachable for performances, recordings, collaborations, as well as teaching, workshops, and lessons, even just answering any questions.
With so much music still ahead, the journey continues as a perpetual student, and as an artist, a continual work in progress.
We’d love to hear a story of resilience from your journey.
I’ve been making my living through music one way or another since I was about 19 years old. With no safety net, and no back-up plan, the further I forged forward and the deeper I went, the more singularly focused I became, and everything else melted away as possibilities to even consider. So no doubt, stories of resilience abound throughout every stage of my journey and career. However, what I’d prefer to share is less of a specific story about myself, and more of a sentiment, or even just a singular word that has been of paramount importance and significance in my journey, and why I am resilient.
That word is surrender. Not surrender as in “I give up”, although somehow that’s the connotation that first comes to mind for most. Quite the opposite of “I give up”, as there were and will always be countless struggles along the way. For me, surrendering to music was comparable to a “trust fall”, to surrender to the currents and tides and where my musical path might take me. From that moment that I first surrendered to music, everything was different. Even all these years later, there are still times I need to remind myself to surrender to my art and the process. However, when I truly embrace this notion, everything is more vibrant, love radiates and permeates, output increases, and in turn something positive in my journey transpires. At the same time, also feeling more secure, even impervious, and thus less vulnerable to the things in life that chip away and attack our focus, confidence, resilience, and ultimately pursuing our dreams, loves and happiness.
Is there something you think non-creatives will struggle to understand about your journey as a creative?
Well, I’d imagine many of my decisions. First, I don’t chase money. It’s not that I’m against money or don’t like having any, but my feeling has been as I mentioned to put my love and focus into my art and work and it will radiate. This in turn leads to a career and money. So I continually chase (and follow) music, not money. Secondly, I am not opportunistic, nor seeking more than to pursue music as my life’s work and journey. It is simple, and I am simple.
As a musician I’ve gravitated into a wide orbit, often circumventing commercial opportunities, joking that “I have a career in spite of the music business, and not because of it”. While every now and again I get to stick my toe in those pools and quite grateful for the opportunities when they arise, there have been times where I have actually turned down such “opportunities”, if they didn’t feel right for me for various reasons. Sometimes people are shocked that I’ve turned down tours or performances with famous artists. No, I’m not crazy, and most times (always when it’s right) I say yes (of course), but sometimes the music business and entertainment industry presents things that just aren’t in-line with how I operate, or just aren’t right for me, so in those cases I’ve mostly passed. Doesn’t seem like too many times, but cumulatively over a career, I guess it adds up. However, I don’t regret any of the things I’ve said no to, although it still gets lots surprised reactions.
Overall though in my experience, most of the time people on the outside who genuinely care, seem to come from a place of concern and/or are just confused by those decisions, as they often only see the risk. However, the end result ultimately resolves back to a place of not just understanding, but support and a sense of pride for your integrity and stick-to-itiveness.
Contact Info:
- Website: randygloss.com
- Instagram: @randy_gloss
- Youtube: Randy Gloss Official Artist Channel @randygloss7295
Image Credits
Photo credits: Initial photo: Azul Niño. Photo #1 & #2: Annissa Gloss; photo #3: Nishant Singh; photo #4 & #5 unknown general use; photo #6: Annissa Gloss; phtos #7 & #8: Eron Rauch.