Benjamin Ring is a gifted young percussionist. He plays jazz in the SFJAZZ All-Star Jazz Orchestra under Paul Contos, and he also plays classical music in the San Francisco Symphony Youth Orchestra, under Donato Cabrera, both incredibly difficult and competitive auditions. He seems to be completely comfortable in both realms and that makes him versatile and well-balanced, among other things, as these two worlds are quite different. He also does some composing. Add to that, Benjamin once told me he would love to start an alternative/electronic band - I hope you do!
BENJAMIN STATS
Primary Instrument: Drumset and Orchestral percussion
Secondary Instrument: Marimba
Music I play: Classical, Jazz, Percussion Ensemble
Music I listen to: Classical, Jazz, Classic Rock, Electronic, and everything in between.
Private Lessons: Yes, 2 teachers: 1 for orchestral, 1 for drumset
Year I graduate HS: 2016
1. How do you approach improvisation?
Although I am a drummer and play a primarily rhythmic instrument, I try as much as I can to approach improvisation like a melodic instrument would. I always try to find the interesting rhythms in the melody of the song I am playing, and transfer those to my solos while creating a sort of "theme and variation" game. For every rhythm that appears in the music, there are 100 ways one can twist and play with that rhythm, by putting it in a different place, changing note lengths, until it becomes a "different" rhythm - although it still is true to the nature and style of the song. For example, if I am playing a Louis Armstrong tune, I am not going to use quintuplets in my soloing, as that is not fitting for the style of the drumming at that time period - I may use simple drumming elements, like the basic rudiments, that were being pioneered at the time. On the other hand, if I play a Vijay Iyer tune in 21/8, I may take a more modern, minimalistic approach to my improvisation, using complicated rhythms and displacing things more often.
Because I like to act as a melodic player would, I always have the melody of the tune in my head. One of my favorite things to do is play the melody on the drums. The creativity of doing this comes from the limitations of the drums, as there are only 7 or so instruments that one can use at a time. However, like rhythms, each of these separate parts of the drum set can be manipulated 100 different ways to produce different types of sound, tone, and volume. Playing the melody of the song is a great tool to use while improvising, but having the melody in my head allows me to do so much more than just playing the tune; I can play the spaces in the song, play the melody at half-speed, play it twice as fast, heck, play it backwards - knowing the tune inside-out only furthers my creativity stemming from the melody.
2. What makes you play the way you play? (Influences? Where do you find inspiration? Group vs. solo?)
Dave Weckl, Steve Gadd, John Bonham, Ginger Baker, Gene Krupa, Chick Webb, Zev Shearn-Neance, Gustav Mahler, Beethoven, Jack Van Geem, Logan Kane - they are only a tiny amount of the number of people that influence me musically in this world. For me, playing classical music and jazz provides me with a multitude of opportunities from which I can take ideas and concepts and apply them to my playing. Classical influences cross over to my drum set playing, and vice versa; that's what I love about having a pretty diverse musical life.
I think it's important to distinguish between being influenced by something and trying to sound like an artist or group. It's always important for one to develop their own musical style at an early stage in their music career, and influences can be a great way to create one's own "sound". However, I try not to sound particularly like one artist for too long - it is cool to imitate someone for a week or two, but longer than that, their style of playing will trample on my style of playing, and I will lose the originality of my sound. That's why it is important to take influences, but not try to imitate too much. Developing one's sound is key to playing an instrument.
3. When you're frustrated & want to quit, what makes you come back to your instrument?
We all have this feeling, and I have it pretty often lately - Why am I doing this? Isn't it impossible to make a living playing music? Why does the world need my playing when there are a million other drummers out there who can kick my butt? These questions can be degrading of one's personality, and can overall make one feel like crap. I've definitely had times where I throw down my drumsticks in frustration and tell myself I'm done, and sometimes the negative energy just needs to be released. However, the idea of inspiration comes into play again in these situations - yes, maybe Cameron MacIntosh can play way better than I can, but this is only an opportunity for inspiration, and I can learn from him just as much as I can learn from Buddy Rich; they each have their own great sound. Granted, the last thing I want to think is the number of people that are better than me - because I will never finish counting; but this is just inspiration waiting to help me develop my sound on the drums.
There is always a song or a tune out there waiting to be listened to, and although it may not be complex, it can make me appreciate music for the way it affects us mentally and emotionally. That is what brings me back.
4. How does pressure ('good' or 'bad') affect your performance?
I think everyone experiences pressure while playing their instrument, whether it is performing for others or just practicing in the basement. There is pressure to play well, to be musical, to be presented well, etc. For me, pressure has built character and allowed me to be less stressed for performances and auditions. Yes, the first few performances I ever played were absolute nightmares, but even after my first year of being in a youth orchestra (BYO), I felt more comfortable with performing on stage.
I consider myself pretty shy, especially when playing my instrument for people I don't know. When clinicians come in to work with the SFJAZZ band, I get super nervous and self-conscious, and this in turn negatively affects my performance. I know that they are there to help me and give me advice on my playing, so there is nothing to worry about, but the aspect of human-to-human pressure is always present. Because the drummer basically drives a big band, the mistakes that I make while playing can throw people off, and this makes me feel accountable for everyone else's mistakes. I eventually spiral downwards with these negative thoughts to the point where I want to quit playing.
The important thing is not to let pressure overcome you. Obviously, respecting people who have authority is key to success in music, but professionals always appreciate it when you treat them as one of your band members, because it creates a more relaxed environment. As for performing, all I want to do is make people connect with the music (and maybe even dance a little).
5. Parent support directly affects musical achievement. How does parent support look in your family? How does it affect your ability to succeed?
I consider myself EXTREMELY lucky to have the support that my parents provide musically. My father, a french horn player in the San Francisco Symphony, really made it his goal to educate his children with music from an early age. I would always go see him at Family Concerts, and these were the first times that I really experienced music. Because he "made it" in the music field means that there is no doubt in my family about the ability to make a living playing music. Without him, I would never have started playing.
My mother, an amateur flute player, helps me discover musical appreciation and the ability to connect with it. She always pushes me to try new things and do new groups, and was the one to introduce me to both SFJAZZ and the SFSYO. I think that a large part of my musical career stems from her support (as well as her car driving - she shuttles me practically everywhere).
Yes, parental support has directly affected the way my musical life has shaped itself, if not started it in the first place. I would definitely not be anywhere close to where I am today if it hadn't been for my parents. Thanks, Mom and Dad!
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