| Part 2
It's around 3 o'clock in early January, that melancholy time of year where the day perpetually feels like 7 pm. We're standing on West 53rd Street between Broadway and 8th Avenue around the corner from the entrance to The Ed Sullivan Theater. A light haze of snow is falling around the huddled masses waiting in line. Five or six paparazzo are standing behind a gate, cameras in hand. We knock on the door marked Backstage Entrance and are greeted by a perky twenty-something-year old intern dressed in black cords and a Letterman jacket. "So, who are you with?" she asks with a smile. Flustered, Ben barely audibly mumbles "Anton." She flashes another eager smile and replies, "Ok, I'll take you up to his dressing room." We begin to follow her as she says into her headset, "Let Ethan Hawke know they're here for the interview."
For one moment, I'm tempted to take advantage of her plucky misperception. Why not indulge a '90s fantasy of my own? However, Ben shatters my teenage dream and abruptly interjects, "No, we're here to see Anton Fig
For nearly 30 years, Anton Fig
has been TV's go-to drummer/percussionist. Born in Cape Town, South Africa, Fig relocated to Boston
to study both jazz and classical music at New England Conservatory. After graduating and moving to New York, he found work as a freelance musician backing up artists such as Ace Frehley, Link Wray, Bob Dylan
, Warren Zevon, Mick Jagger, and Cyndi Lauper. In 1986, Fig joined with Paul Shaffer
to form "The World's Most Dangerous Band" for NBC's "Late Night with David Letterman." In 1992, Letterman moved to CBS and the band became known as "The CBS Orchestra."
Not content to limit himself to his day gig, Fig has been an integral part of the Greenwich Village creative music scene for decades. Joe Bonamassa
, Booker T.
, Wayne Krantz
, Mike Stern
, and Oz Noy
all regularly call upon Fig's talents to help them realize their musical goals. We sat down with Anton in The Ed Sullivan Theater green room after taping one of the final episodes of "The Late Show" to discuss his upbringing, creative process, gear, and a memorable performance with Miles Davis
. All About Jazz:
Watching you above the band stand, as opposed to the times I've see you perform on TV and in clubs, I was really knocked out by the ghost notes, your linear figures, and your overall subtlety. Do you work out of the Garibaldi book frequently? Anton Fig:
No, not really. Lately now, with YouTube and all that stuff, I've spent a lot of time looking up all these videos that focus on techniques. I tend to type in subjects and see where that leads me. On the show I sometimes just try stuff I've been practicing. I figure I have a 65 per cent chance of pulling it off (laughs). We get a chance to play a lot and we play pretty improvisationally. I mean, we stay in the style of the song, but we get a chance to really play during the commercial breaks. AAJ:
That really moved meto see how much you guys jam. That does not come across on the broadcast. AF:
Yeah, we get to play a lot. AAJ:
After leaving South Africa, why did you chose to attend NEC as opposed to just moving to New York? AF:
Well, I was pretty young. Coming from South Africa, the world wasn't as small as it is now with the internet and flight travel. I mean, there were flights here and there but apartheid was in place and the country was really cut off. For example, David Oyelowo was on the show yesterday. He plays Martin Luther King in the movie Selma.
He said "I'm English, and you come to America and think, 'well I speak English,' but it's a completely different country." I'm from South Africa and my first year here was insane. I'd watch TV and I wouldn't get any jokes. Jokes tend to reference something before them, so I would watch a sitcom and not understand anything because I had no reference to American culture.
But, I haven't answered your questionthe reason I came here. I had a friend who went to NEC. I told my folks I wanted to come over and play and they said "ok, if you go to America you have to get a degree." So, I went to school at NEC because I knew someone who attended. I got a degree and then I moved to New York. AAJ:
I'm a huge fan of the work you've done with Oz Noy
. Your playing on "Oz live" really inspired me, in part, to bring him out to Chicago
last year to do some recording. Do you have plans to do any more recording or performing with him? AF:
Well that's up to him. I'm on a song or two of every record he's done, and we used to play at The Bitter End
every Monday for years, though he changes up his rhythm section all the time. We do have a gig out near Poughkeepsie
in February and something else in Toronto
in May for a weekend, but that's all so far. It tends to go through cycles. We also did a bunch of double drum gigs with Keith Carlock
and myself, and that was... a learning experience. (laughs) AAJ:
Yeah, pretty intense. Keith graduated a few years before me at North Texas and he came back a couple of times. Great player AF:
Oh yeah, he's something else. You went to North Texas? AAJ:
Yeah, I graduated in 2005. So, when Paul's been absent, you've been called upon to lead the band. Can you lend some insight into that process? Some of the challenges you face? AF:
Well, you know there's a whole lot of show going on. We have in-ears and there's a whole culture going on in the control room. They're bringing you in and out of commercial and counting you down, etc. So, while I'm playing I have to listen to that as well. Paul listens to that chatter. The rest of the band doesn't have it in their ears, unless they're leading the band. We want to time the song so that we end it right when we come out of commercial. Hopefully at a dynamically intense spot.
So, they'll go, "Okay15 seconds," and start counting it down. Then they'll go, "No, no, no, keep it going for another few minutes," so I to scream in a cue. It's a little harder from the drum set because I'm behind everyone. Scream in the cue and like, "go to the chorus" or "back to the top of the song," whatever. We've got to maneuver out of it.
One week they put me right in front of the band, and there was communication between me and Dave. Other times, they had Warren Zevon interact with him. He would talk to Dave and I would just lead the band. In these instances, I would get together with Warren before hand, and select the songs. I would rehearse the band, and basically conduct them during the show. AAJ:
Does Dave have any kind of musical chops? Like say, "come in at bar 8" or whatever?" AF:
He doesn't do that, but he often requests songs. And he really appreciates the band. You feel like you're playing for someone who's listening to you. He's always complimenting us, and sending requests. You know, the show's very off the cuff. Dave might go in a whole different direction and that might change what we're playing to suit the show. It's not like, "Well this is the show and this is what we're playing." It all just kind of comes together. We have a short band rehearsal before each taping. Did you hear any of the rehearsal? AAJ:
I heard you playing when we were outside. AF:
We just rehearse some bits and pieces, and none of the break songs. We just do it as we go. To keeps it fresh. AAJ:
The times that I've seen you perform live in clubs, you've used a standard 4 piece kit. However your day gig requires a pretty elaborate set up. Triggers, pads, multi percussion etc. Does this back and forth pose a challenge? What setup do you use for your daily practice routine? AF:
Well I don't have any daily practice routine. I play all the time. Funny you mention that though. We just had a couple of weeks off, so I decided to practice on the pad today before the show. I've been practicing the last few days just to get my hands feeling good, but usually I'm playing quite a bit so I feel somewhat in shape. I have a little practice set, up in the dressing room. So I'll warm up just before the show. That setup is pretty dead, the pads have no bounce at all, so I have to work really hard. Same with my feet. I work really hard to get something going, just to get a bounce with my feet or my hands.
You know I used to mash in with the pedal, now I'm trying to get it off the head a little. I also would try to get the sticks off the head a little bit. I think that using different set ups makes you play differently. I think it's a good thing to change your set up. Peter Gabriel did that whole "Shock The Monkey" period with Gerry Marotta he wouldn't let Rick use cymbals. That made him play drums differently (laughs). I did a gig with Joe Bonamassa
at Red Rocks
, and I used 2 toms, 3 cymbals, and a bass drum. That was plenty of drums for the gig.
For The Late Show, I have more drums because I never know what I'm going to play. For example, I might have a timbale set up and a sample ready to go even though they may cut the song at the last minute. A little snare, a primary snare, I've got to have it all covered. If I did some other gig on a permanent basis, I could tailor the set to the gig, rather than have the same set and make it work with whatever gig it was. AAJ:
So obviously this set is tailored to this (The Late Show) gig. AF:
Yeah, so when I started the show at NBC, I had a 3 tom kit. Then it evolved. I got an extra tom or an extra this or extra that, and it slowly grew. I went to the Tonight Show and saw Ed Shaughnessy
's kit and it looked like it had been nailed to the floor. With an ashtray. I mean this was the 80's and it looked like this kit had just been grown out of the set (laughs). AAJ:
Smoking in a TV studio! That's great. So, any more recordings, performances, etc.? AF:
Yeah, I'm going to be doing a few records in the near future. And I'm going to be playing on a little tour with Eric Johnson and Mike Stern to promote the Eclectic
record. I'm going out to Texas
this weekend to rehearse for a few days. Then the following week the show's off for a week and then I'm going to miss a week of shows, and do a little 2 week tour with them.