Session Drummer | Studio Drummer | Touring and Worship Drummer for Hire | Dale Baker | Durham, Chapel Hill, Raleigh, NC

My new favorite drummer: Benny Greb

I just like how this guys sounds.  I love the flurry of notes...can't figure out how he's getting the quick kick drum stuff...double pedal, or doubles and triples with one foot?  Hmm.  Anyway, I just came across this guy while I was looking at some stuff on the Pro-Mark website and started digging around the 'net and found this video:

Angled SM-57 - pretty cool idea

I'd seen a "mod" of a SM-57 that involved unscrewing the capsule, and angling the mic using duct or gaffers tape (was that in Tape Op?), but this company has taken that idea and made it a little more stable/ rugged than using tape.

"The G5790 is a real SM57 modified to turn 90 degrees.
Granelli Audio Labs uses brand new Shure® SM57s and inserts a custom-made aluminum part with an acoustically-engineered internal sound path. The result is a microphone that maintains the SM57's renowned durability and familiar tone while increasing functionality."

Check out the Granelli Audio Labs website for more info.

Wii: Midi Drum Controller

Pretty cool...this is:

"A quick demo of DrumChuk, a customizable Ruby-based MIDI drum controller for the Wii remote and nunchuk on OS X."

Hand coded and pretty awesome.  You have to check this out...

Source Code is here:  http://github.com/jmileham/drumchuk/tree/master

But you'll probably want to watch the video first to get an idea of what this is all about.  

Leno and Voltaire (via Ronald Harwood)

I recently saw some quotes and felt compelled to write them down, first off are a few from Jay Leno that I read in the online version of the Boston Herald.

"I"m a great believer in low self esteem. The only people I find that have
high self esteem are criminals and actors. And if you have low self
esteem and you always assume you’re the dumbest person in the room,
you’ll work harder," Leno jokes.

"The real trick to show business is try not to get too excited. Try
not to get too depressed," Leno says in a telephone interview to
discuss his final week as host of "The Tonight Show."

I really like these quotes and feel that they're true and good advice for anyone aspiring for a career in entertainment. Having met Jay on a number of occasions (Sixpence played on Leno at 3 different times when I was with the band), these quotes seem as practical and as down to earth as he is (or at least seemed).  Of all the Late Night/ Talk Show hosts I met, I always felt Jay was the most approachable, and "normal" of them all. 

(photo info -  L to R:  Jerry Dale McFadden, my brother Doug, me, my sister Linda, Jay, my Mom and Dad - the fact that Jay took the time to pose with us, was pretty cool I thought.)

My next quote I found in the May 23rd 2009 issue of The Economist.  It's from Voltaire, but was quoted by Ronald Harwood.  Here is the opening paragraph from that review:

"RONALD HARWOOD has been a late developer. After the initial success in 1980 of his autobiographical play, “The Dresser”, his work was regularly savaged by London critics. He was hurt, but he stubbornly refused to retire. Then in 2003 his script for “The Pianist” won an Oscar. “People notice when you win something, and I’ve had a lovely time since I was 68.” He is now 74 and points out that Henrik Ibsen was still writing hard in his 80s."

Did you catch that?  It was 23 years before this guy had another success!  And in those 23 years he was met with more criticism than encouragement!  Talk about depressing...could you endure 23 years of that?

I found the entire article an interesting read, yet it was the last line of the article that really resonated with me: 

"He quotes Voltaire: “Doubt is not a pleasant position, but certainty is absurd.”

Looking at the quote now, it makes me think of what Leno said above about low self esteem.  But originally it resonated with me because of how uncertain my life has seemed in the past few years. 

I've always craved a life of security, of certainty even in the midst of feeling "called" or "led" to pursue drumming as a career - I struggle with letting go and allowing life "to happen."  To "be in the moment." 

But as I read this quote, it gave me a sense of hope and encouragement within this "uncertain" life that I lead.  It let me know that doubt is okay - of course it's not pleasant but to have certainty, really?  Is that really what I want?  It reminds me that I crave adventure, and the road less traveled, and that this "uncertain" life I've found myself in is really where I want to be. 

Yes, it's a struggle some days, and I wish I had more of the success (and "certainty") that puts money in my pocket and in my bank, but for the most part I'm continuing to learn how to make a life for myself and my family and it feels good and right (for the most part).

Still, though, a little certainty would be nice :-)

Turning off the Sudden Motion Sensor on your Mac

Has your Mac ever quit unexpectedly during a set?  It may have happened because of the Sudden Motion Sensor getting activated and shutting down your computer.

My friend Paul (who works at Apple) sent me this link:  Apple Portables: Advanced tips for Sudden Motion Sensor and described a problem he had encountered while running Logic Pro during a recent gig:

"Thought you might want to consider this information.  I have had a few issues recently where my MacBook Pro has stalled during a worship service (while we are playing).  If using Logic (with Midi) this can cause the playback to stop (and give an error message).  (I think that the vibrations from the bass guitar or the kit (when heavy hitting) have caused the sudden motion sensor to trip.)."

And then:

"I was able to re-create the issue last night by deliberately triggering the sudden motion sensor (you can do this by rotating the computer...and then you will hear a "click sound").  When this sensor activates the HD shuts down for a split second.  This can cause issues sometimes during playback."

Personally, I've never experienced this problem, though my computer did freeze one time before a set began.  I had to get the MC to stall for a bit while I rebooted my computer. 

I'm not sure I want to turn off the Sudden Motion Sensor in my Mac as, I think the sensor helps protect the computer from damage, should I drop it or it fall off as stage as Nathan's computer did during a recent show I played with him.  His laptop fell about 7 feet, flipping over in the process, losing a cable and landing upright.  Nothing broke, and he was able to continue using his computer almost immediately.  I'm thinking the Sudden Motion sensor saved his hard drive...but still...it'd be nice not to have to worry that my computer might shut down in the middle of the set. 

Do you have any suggestions for keeping your Laptop safe during a peformance?  Any special stands or trays that you use?  If so, leave a comment...I'd love to hear your solutions for keeping your computer stable during a show.

Monolake: Article on Live Performance with Computers

I found this after visiting a site my friend Martin Baird recommended.

Monolake on performing live with laptops http://maxoepen.com/spacebar.html

Recent Loops

To give these a bit of a context:

I created these loops for use last weekend when I played at The Summit. For the shaker based loops, I used Apple's Logic, layering the pre-made Apple Loops until I got the parts that I wanted.  For the "beat box" type loop, I couldn't find what I was looking for in Logic, so I created the beat in iDrum and then exported it to Logic - audio and all.  Technically, I could have just exported the midi file, but I liked how it was sounding in iDrum and wanted to keep the sounds as I imported it over to Logic.

After creating the loops, I then imported them into Ableton Live, which is the program I used to "drive" the click and play the loops.

Anyway, here are the loops...and if you don't mind, let me know if you use them or find them helpful.  Thanks!

76 bpm Shaker
( I used this  on How Great is Our God)

76 bpm Beat Box
( This was also used on How Great is Our God)

78 bpm Shaker +Tamb
( I used this one on God of Our City)

Enjoy!

Problem: Images disapeered.

Sorry if you were looking for pictures earlier...or wondering where my banner image went.  It seems that an entire crop of images from my TypePad account went missing.  I'm not sure what that's about...but for the meantime...enjoy this retro banner from 3-4 years ago...and if you see a link for a picture - like on my bio page...click on it to see the image. 

Eventually I'll get this figured out...but for now, please have patience with the site!

Oh, and if you can guess what theme park the banner image is from, I'll buy you a snow cone or a funnel cake.  Just drop me a line via my Contact Page!

Recent music: Electrical Storm w/ Wade and Jeff

I recently played a cover of U2's "Electrical Storm at Emmaus Way with Jeff Crawford on Bass and Vocals and Wade Baynham on Vocals and Guitar.  I was playing a small kit comprised of a 16" Floor Tom (used as a bass drum), a 13" snare (with the snares turned off), and a 12" rack tom.  For a hi-hat I was using my crazy looking shaker/jingle/rattling thingy which is mounted on an old hi-hat stand.  It sort of sounds like a shaker/ tambourine accompianment track when I stomp on it with my left foot.  Anyway, I was really proud of how this particular song ended up sounding that night.  Wade sent me a copy of it and you can hear it in it's proper context by looking for the Emmaus Way podcast from March 8th.  Or you can listen to it here (out of context) here on my blog:  Electrical Storm played by wade dale jeff

The audio was recorded with a stereo condenser mic and that's all.  We usually set up in the middle of the room facing each other (sort of like a house concert type situation) and with minimal rehearsal we play through 3 or 4 songs.  Wade will then take the audio that's been recorded and minimally process and tweak the levels and then post it to the Emmaus Way website for download.  I was really happy with how my drums sounded and the blend of the instruments with the vocals.  Anyway, I thought I'd share this with you...hope you like it!

Tomahawks (at least I think that's the name)

We practiced today for about two hours or so, ran over some of the songs twice and made some notes on our charts (oh how I love charts!).  We played our show at The Cave about 8 hours after we rehearsed.  By most accounts, the show went well.  Ben came up and had some nice things to say about my drumming and I met Doug and Josh (?) who are forming a band and need a guitar player.  I also met Tad Dreis, which was fun 'cause I've seen his name around, and he's worked with other guys I've played with...so it was nice to finally meet him and connect a bit. 

I enjoyed getting to see my friend Tim and talk about music and life some.  And it should go without saying (but I'll say it anyway), I enjoyed playing with all the guys in the band.  Good stuff all around and I hope we do it again soon (schedules permitting).

Next time I should bring a camera and take a picture of this place.  The Cave is such a landmark place...I love that venue.  Divey, vibey, and small.  Perfect.

Russ Kunkel: easy way to play ghost notes

Russ is one of the great drummers of our time, and I found this video online of him doing a simple pattern, which when applied to the set, will allow you to play ghost notes without having to think about it too much. Just play the basic 16th note beat, move the left hand to the snare, and let your right hand come across and hit the two and four, and there you have it: instant groove! (or at least in theory)

I've been a fan of Russ Kunkel's drumming ever since Jackson Browne's Running On Empty Live record.  I used to listen to that thing constantly, mainly because of the song "Stay," where Jackson Browne mentions that the "roadies don't mind..."  

The idea of being "on tour" just grabbed hold of me as a youngster and I spent hours wondering what it must be like to be on the road.  There was that song they recorded on the bus, and you can hear the road noise in the background, and Russ is playing a cardboard box for a kick drum.  I just ate that stuff up! 

Oh, and those North Drums on the album cover...if you've never seen North Drums just know that they look like something you'd see at a Blue Man Group show.  Oh, but I digress.

If this video whets your appetite and you want to learn more about how to play drums...(and here comes the plug) Did I mention that in addition to being a studio and live drummer, I also teach lessons?  Check out my teaching site at www.durhamdrumlessons.com for more info and feel free to contact me with any and all of your drumming questions. If for some reason I can't help you, I can probably steer you in the right direction!

U2, Letterman, Eno and Band Dynamics

I'm looking forward to seeing U2 on Letterman this week.  Of course, I don't have TV to watch the show so, I'm hoping that I can see the footage on You Tube or on the CBS site.  We'll see if I get lucky.  Someone will surely post it.  Sure there are critics:

"If U2 truly wanted to make a dent, truly wanted to do something special, they would have played five nights a week on HULU!  There should be some kind of Web play."

But when I got to thinking about the late night options available to U2, Letterman is really the only the choice in my book.  And the fact that his show is in the old Ed Sullivan Theater (where the Beatles played!), and as a band what could be cooler and more exciting than spending 5 nights playing on that stage?  I don't think they are doing this so much as a marketing move, as they are because it just sounds like fun. (Or is their plan to mimic the Beatles:  performing impromptu on top of a British Landmark, then playing in the Sullivan theater?)

I'm sure there is a marketing angle to it, but not to the extent of what this guy says on his blog.  I mean, really, U2 can do whatever they want...and I bet this option sounded like fun to them and surely doesn't take as much work to make happen as doing something on HULU.  I look at this video and think that U2 could have picked a much bigger (meaning:  more room for the band, and camera crew) building to play off of in London, but instead chose to go with the BBC option (it looks more like a balcony than a rooftop to me).  I'm sure this was more fun than work for them, though it certainly took some work (the helicopter shots are beautiful) and serious planning to pull it off. 

So as I was trolling around the web last night finding out more info about U2 on Letterman, I found this cool little snippet of an article on the U2.com site:

'U2's chemistry relies on their empathy and respect for each other, but also on something intrinsic to Irish society - the attempt to keep everyone included. They just don't let things fall apart. So if somebody starts to feel they're not part of the process they are quickly brought back in. U2 have that tribal attitude: if you get ill it's not just your problem, it's the problem of the entire tribe. They do it not simply out of generosity but because that's how you get a good working community.'

And isn't community what it's all about?  I'd love to hear of that happening more in the music business.  When I was in Nashville, it always seemed that most band related decisions were made by lawyers and accountants who were always looking at the bottom line, with nary a thought about building a sustainable community which would continue to grow and prosper with time.

The rest of the article is a great read as well:

The Telegraph:  "So what happens, I wonder, when rivals to The Biggest Band in the World decide they want some of the Eno magic? Was it seen by U2 as a defection when he worked with Coldplay?

Eno:  "I realised it could have been, but there was no friction on either side. First of all they know each other. Bono said he thought it was a good idea. (note:  Here is the part I like, emphasis added by me) But I felt sensitive that in one computer I had all the work I was doing on Coldplay and all the work I was doing on U2 and I had to mentally keep them apart."

What Paul Harvey could teach us drummers:

I just found out that Paul Harvey is dead.  90 years young!  I remember hearing his radio shows and reading his columns (I think...I swear I used to read some of his stuff in the newspapers or Readers Digest growing up) when I was a child.  One of his signature delivery "tricks" was his use of silence:

"One of the things that radio broadcasters are taught from Day 1 ... is that dead air is a big no-no and it's only after years and years in the field that you realize that silence is your most powerful tool, [and] he did it better than anyone," said Edwards, who remembers listening in the back seat of his parents' station wagon. (excerpt from Chicago Tribune story)

I think many of us drummers are taught the same as broadcasters...silence is bad.  Better to fill up the silence with a barrage of notes, than to just sit there and do nothing.  Or maybe it's not that pronounced:  most young drummers tend to play 16th note fills more often than 8th note fills.  I think more times than not, an 8th note fill will do a better job at supporting the music you are playing than something quicker and more complex.

I think we drummers can learn from the way that Paul Harvey used silence to make his next word take on more depth of meaning and possibly surprise. The first drummer that comes to mind when I think of silence in the midst of a fill is Jeff Porcaro.  His fills (and I'm thinking specifically of a dotted quarter note spaced out over two measures or even dotted 8ths spaced out over a one bar fill) were famous for being spaced out over several beats so that when the band came back in, there seemed to be more emphasis and maybe even excitement on the downbeat.

But as I alluded to before, I think silence doesn't have to show up just in our fills.  It can show up in just playing more simple, less complex beats.  Holding back our "chops," so as to give the music we play greater depth and meaning.  Silence and space in our drumming and music can give our playing more depth, leaving the listener wanting more.

If you get a chance, check out one of Paul Harvey's signature radio broadcasts (if you haven't already) and listen to how he delivers his lines.  He doesn't rush the phrase and doesn't fill up the airwaves with extraneous information.  He tells a good story and then - wait for it - "the rest of the story."  His writers (writer?) were good, but his delivery took those words to the next level in how he performed them.

It might seem strange to think that a talk radio pioneer would have anything to teach us drummers, but I think if we approach and listen to Mr. Harvey's delivery and (pause....) his use of silence, we might find some concepts and ideas that we can apply to our own field of work.

RIP Mr. Harvery.  Thanks for telling great stories and being an inspiration to me.

Worship Musician for Hire?

I make some of my living by playing drums for a variety of denominational and non-denominational church worship services.  The services I play for range from "house concert" style acoustic music, to full-blown theatrical experiences that have more in common with live television or a rock concert than most people's traditional notions of a church worship service. 

In no way is this blog post trying to judge anyone or incite someone to anger.  I know that church budgets are tight, and often times we face an uphill battle trying to convince church leaders that yes, indeed we do need to pay that drummer, or guitar player, or bassist.  But I think that if we can come together to educate each other about the issues and difficulties we all face, we may be able to come to a consensus that ultimately allows for more excellence in our worship and greater professionalism (grace, courtesy, respect, and trust) all around.

I love that I get a chance to worship and participate in so many different congregations.  And I take my role as a drummer for worship very seriously and with great reverence.  I truly want to serve the congregation and help lead congregations closer to God through their worship. I have invested in my education, experience, equipment and come to each rehearsal and service prepared to serve and play to the best of my musical abilities.

However, I get disheartened at the lack of importance placed on paying for quality talent and skill.  Often times it seems that "good enough" is more important than true excellence.  I sometimes feel that churches expect me to play for free or at such a reduced rate that I wonder if I should someday ask for an offering plate to be passed for me, or if I should go about a letter campaign asking people to support my "itinerant drumming ministry."

Even as I post this, I wonder if I will feel the backlash from those who believe that church musicians should not be paid.  Still, I wanted to put together a list of resources that I've found via the internet, as a way to encourage all of us involved in church ministry.  Often times it's the things that are most difficult to discuss that must be discussed before growth can occur...so without further rambling, I've posted links and quotes related to this "elephant in the room" below:

From Creator Magazine circa 2007 "Music Ministry Equitable Payment Pick Two" by Vernon Sanders:

"...worship ministry is the only activity that involves every member of the church. One Pastor for Worship Ministries says, somewhat lightheartedly, "every dollar specifically earmarked for the worship ministry will bring back $10 in the offering plates."

While this person is speaking of program budgets, the point is well taken. Non-worship activities at churches tend to be "self-supporting" (that concert series comes to mind) or "subsidized" by the general budget (there may be a Sunday School that generates enough money through children’s offerings to pay for the Children’s Ministry Pastor, but I don’t know of one).

If the worship ministry is truly important to a particular church, paying a "living wage" to the employees of that ministry seems to be only the proper thing to do. Some (many I would guess) churches may need to "work up" to the current Guidelines, but all should acknowledge the worth of the ministry itself, and how it has changed."

There’s an old saying in the printing industry: quick, cheap, good—pick two. What have you or your church chosen?

A book from 2006 by Darrell Alexander, "Excellence in Worship: Should Church Musicians Get Paid?" gets some interesting comments like the following from "L White":

"I found this book to be very profound, and it hit on some very interesting points. After dating a musician and being aware of the preparation, time, and energy that goes into the music and choir selections as well as special programs, this is a full-time job in itself. It rates the same spiritual level as a pastor preparing his sermon to the people. It prepares people to receive a spiritual blessing if done properly. If you pay a pastor, who is said to be called into the ministry, why not pay the musician, who could also be called into the ministry, only in a different way!! I don't believe the pastor could do as an effective job without the musician."

Reader John Hunse writes to the Reformed Worship magazine (though he is referring to organists, I believe you could make the argument for other musicians as well): 

"The denomination should set a suggested remuneration schedule for musicians, just as we have for ministers. It is difficult for individual musicians at the local congregational level to present a case on their own behalf without being misunderstood and misinterpreted."

And makes the following case:

"The talent of the musicians should be viewed no differently than the talent of the building contractor, the carpenter, or the electrician. All require time and effort to develop and deploy. Yet no one would expect carpenters and electricians to "donate" materials and services week after week, year after year"

I found this salary guide from the National Association of Church Musicians that I thought could provide a look into a salary structure based on years of experience and other factors.  The chart is from 2004 and by adding a 3% increase per year (since 2004) I came up with a 2009 minimum wage (for someone with minimal to no training working for less than 11 hours a week) of around $225/ per week/service (including rehearsals).  For someone with my background (BM degree and over 5 years professional experience), the numbers work out to be a minimum wage somewhere around $325 or so, per week/service.  Download NACM Salary Guide 2004

I also found this article with the following salary guidelines posted below the story (please note these figures are at least 10 years old!):

Excerpt

Guidelines for Paying Church Musicians

ENTRY-LEVEL SALARY RECOMMENDATIONS ALL SUGGESTED SALARY RATES INCLUDE PREPARATION TIME These figures do not include fringe benefits
Educational Level	Suggested Hourly Rate	Weekly Salary Minimum Position 6 hrs/wk	Annual Salary Minimum Position 6 hrs/wk	Annual Salary Half-Time 20 hrs/wk	Annual Salary Full-Time 40 hrs/wk
Minimum B.M. or Equivalent Plus Certification	$6.87-$9.15 $9.15-$ 11.43*	$14-$55 $55-$69	$2,143-$2,855 $2,855-$3,566	$7,145-9,516 $9,516-11,887	$14,290-19,032 $19,032-23,774
M.M. or Equivalent Plus Certification	$11.43-$ 13.72*	$69-$82	$3,566-$4,281	$11,887-14,269	$23,774-28,538
Ph.D. or Equivalent Plus Certification	$13.72-$ 17.15*	$82-$103	$4,281-$5,351	$14,269-17,836	$28,538-35,672

*These figures should be adjusted regionally and reevaluated annually in accordance with the cost-of-living index.

Reprinted by permission from Guidelines for Committees Seeking to Employ Church Musicians in Presbyterian Churches recommended by The Presbyterian Association of Musicians.

Complete copies may be obtained from the national office of The Presbyterian Association of Musicians, 1000 E. Morehead Street, Charlotte, North Carolina 28204. A check for $1.50 each must accompany order.

Note:  If we are to adjust the figures for cost of living (3% per year), the minimum hourly wage gets up to around $9.00.  I think these figures are a bit low personally, but they provide a nice "counter-point" view to the salary guide put out by the NACM.

Often times I think that most music ministers aren't opposed to paying for professional musicians, it's just that the model for payment has changed (it's no longer just a pianist and organist that are paid) and it's hard to know what a fair and reasonable amount would be to offer.  And how do you adjust for the musicians experience (or lack there-of) and take into account his training and education?  Without answers to these questions, it's hard to go to the leaders and financial folks in the church and ask them to re-evaluate the budget for worship. 

May you find the links and information above helpful and may we all continue to work towards finding an equitable way to deal with church musicians in a financially responsible way.  I think if we are to ignore the subject of paying our church musicians, we risk alienating and burning out some of our most passionate and "invested" members.  

**************************

New info:  February 28, 2009 I found this blog post over at the NorthPointe Music Blog, seems they were talking about this same subject back in December.  I like that they advocate using a percentage system, so that worship team members are paid a percentage of what the main worship leader is getting paid.  Nifty.

Radiohead with the USC Marching Band

Wow.  I wish I could've seen this in person.  You can tell this must have been the highlight of the night...I didn't watch the Grammy's this year (personally I think they are pretty irrelevant) but heard about this performance from a friend.  Awesome job all around. 

Thom Yorke looks like he's doing his best Mick Jagger impression and the drumline and horns with their stick twirls, drum rotations, and hand raising add a sense of fun to the whole occasion. 

David Campbell arranged the piece (he also arranged strings for a Sixpence record I played on), which I find interesting in so far that I imagined it would've been the USC percussion instructor or some other person with a drum line pedigree.  But then again, thinking of how the music business works, it was probably alot "safer" to go with a trusted Hollywood Arranger and composer with a little indie cred (he's Beck's father) than to go with a relative "no-name" college drum line instructor.  Here is what the USC Marching Band website had to say:

"Did you catch the hottest act at the 51st Annual Grammy Awards? Well, in case you missed it, Radiohead took the stage at the Staples Center on Sunday, February 8 with the Trojan Marching Band. That’s right, for their first-ever performance on “Music’s Biggest Night,” the edgy British rockers were backed up by 32 TMB members. Introduced by Gwyneth Paltrow, It was hailed by Entertainment Weekly as the “best Grammy performance ever” and received one of the biggest ovations of the night. Or as Thom Yorke said to the Trojans after their performance – with a wry bit of British humor – “I think that went over well.” "

And just in case you didn't know about The USC Marching Band's history with rock and roll ( they are the band on the classic Fleetwood Mac song, "Tusk"), here is a bit about them to catch you up to speed (also from their website):

"The Trojan Marching Band has earned the title "Hollywood’s Band" with its performances on both the small and silver screens. The TMB performed with OutKast at the 2004 Grammy Award's Show and on the Offspring's 2003 single "Hit That". The Trojan Marching Band’s movie credits include The Naked Gun, Two Minute Warning, The Last Boy Scout, The Little Rascals, Sgt. Bilko, and Forrest Gump. The Trojan Band has also appeared on some of the most watched shows on television, such as "Hollywood Squares," "The Best Damn Sports Show Period," "Joan River's Oscar Red Carpet," "America’s Funniest Home Videos," "The Wayne Brady Show," "MTV’s Rock and Jock," "In Living Color," "Donnie and Marie," "The Rosie O’Donnell Show," commercials for ABC and ESPN, the 2000 Academy Awards and the 2000 MDA Telethon hosted by Jerry Lewis, and EA Sports 2004 NCAA football video game. Every year the Trojan marching Band invites celebrity guests top perform in their half time shows. Recent guests include Dexter Holland from The Offspring, Mick Fleetwood, John Williams, Elmer Bernstein, KC and the Sunshine Band, George Clinton, and Pancho Sanchez. The Spirit of Troy also performs for various private and public functions throughout the year."

When I worked at Disney one summer (All American College Band - represent!),  one of the Tuba players was "Chuy" (I think his real name was Jesus Martinez - but I could just be making this up).  He was awesome...a great person and a wonderful guy to party with.  He once made us Chorizo and eggs for breakfast (or was it dinner?) and allowed me and a mutual friend to hang out with him over New Years on the night before the Rose Bowl Parade and game.  Because of him and my friend Laura (also from that same Disney band), I got to see the USC Marching Band rehearse in person, and experience a bit of their infectious mojo...being out in LA and experiencing the band in person and seeing how hard they worked at being professional (and worked at having fun) made me wish I had attended USC just to be in their college band! 

The only reason I bring up Chuy is that I swear the shot of the Tuba Player in the video is of Chuy and that somehow he finagled a way to play Tuba for this performance and then payed the show producer a few $$$ to feature a shot of him on TV...( I mean really, do you think that Tuba player is a college student?  I think he looks a bit older than that, and so that is why I'm putting my money on it being Chuy...)

And without further adieu:

Radiohead's Thom Yorke / Jonny Greenwood / USC Marching Band
by 3030fm

And here is some more info I found from the Daily Trojan (I knew that Tad Carpenter and Art Bartner had to be involved somehow):

Once the contractual arrangements were made, Bartner proved instrumental in arranging “15 Steps” for a marching band. “The key guy in all of this is David Campbell. He was hired by the Grammys to marry Radiohead with the Trojan marching band,” Bartner said. “He’s a very famous guy because he arranges with all of these contemporary rock groups. ... So myself and [drum instructor] Tad Carpenter went over to Campbell’s house and we sat down and we went through the Radiohead piece ‘15 Steps’ for about three hours.”