Performer, educator, composer, engineer, and producer, Rick Dior was born in Brooklyn, New York, and began his professional music career as a freelancer at the age of thirteen. He went on to graduate from the prestigious Manhattan School of Music, and studied with legends Fred Hinger, Bob Mintzer, and Joe Morello.
A Professor of Percussion at the University of North Carolina at Charlotte, Mr. Dior also maintains a vibrant
private teaching studio. His students have gone on to attend The Juilliard School of Music, Manhattan School of Music, Cincinnati Conservatory of Music, Oberlin Conservatory of Music, Eastman School of Music, North Texas State University, and the University of Miami. He has composed numerous works for percussion ensemble, which are published by Tapspace, as well as for orchestra and jazz ensemble. And In 2018, Mr. Dior was commissioned to orchestrate his composition for percussion ensemble: Science Fiction for a tour of the National Youth Orchestra of Great Britain.
Currently endorsed by Vic Firth Drumsticks, Mike Balter Mallets, Paiste Cymbals, and Doc Sweeney Drums, Mr. Dior has an extensive career as a percussionist and drum set artist. He has performed with such renown musicians as: James Taylor, Aretha Franklin, Ray Charles, Al Jarreau, Roberta Flack, Martina McBride, BeBe and CeCe Winans, Linda Rondstadt, Glen Campbell, Bobby McFerrin, Mary Chapin Carpenter, Randy Newman, Marvin Hamlisch, Marvin Stamm, Bill Watrous, Rich Perry, Harold Danko, Clark Terry, Red Rodney, Chris Potter, Lionel Hampton, and Russell Malone; as principal percussionist, section percussionist and timpanist with the Charlotte Symphony Orchestra, Charlotte Ballet, and Opera Carolina; in the Broadway Show Tours of Chorus Line, Jesus Christ Superstar, Wicked, The Producers, Young Frankenstein, Spamalot, Hairspray, South Pacific, West Side Story, 9 to 5, Mary Poppins, Bring It On, Newsies, and Beautiful; as well as on numerous recordings which include CD releases, movie soundtracks, and commercial radio/television spots. Moreover, he has worked extensively as an engineer and producer with such artists as: Branford Marsalis, Delfeayo Marsalis, Ellis Marsalis, Ed Thigpen, Harry Connick Jr., Micheal Spiro, Joey Calderazzo, Michael Carvin, and Jimmy Cobb.
When did you begin studying music?
I began studying with a private teacher at the age of nine.
Did you always study percussion?
I played piano, bass guitar (still do), and tuba (in the school band for a brief time).
What made you choose percussion?
That’s a funny story. All the children (four of us) in my family were encouraged to play an instrument in school. We were sitting at the dinner table one night and my parents asked me what I wanted to play. I said I didn’t know and my dad recommended trumpet or drums. I picked the drums just to be able to change the subject as I was not interested in practicing anything at the time. I started playing the next week in band class and I found the technical aspect pretty easy compared to the other kids. The band teacher, Mr. Poppick called my mother and said that there was something going on and that she should get me a private teacher right away. So that’s how it started.
Who were your primary teachers?
Jack Winters in Plainfield New Jersey, Joe Morello in West Orange New Jersey, and Fred Hinger at the Manhattan School of Music. I also took some lessons with Walter Rosenberger of the New York Philharmonic.
When did you decide to pursue a career in music?
When I started high school I was fortunate to have a fantastic band director: Andy DeNicola at J.P Stevens H.S in Edison New Jersey. He really pushed me hard and I improved very quickly. We would talk about a music career frequently. When I was a junior in high school I attended the Eastman School of Music summer camp and that’s when I became sure that I was going to do this.
Did you have a specific goal: teach, perform, etc.?
My original goal was not too ambitious. I wanted to stay in NYC and continue to practice, play gigs, and live in my tiny apartment. I started teaching when I was 15 years old so I was always doing that. Eventually I got calls to tour and got bigger and bigger opportunities. Teaching was always secondary to my performing until I was offered a university position. Over the years it has increased exponentially and now I have students in 14 different countries as well as my college students. I still perform and do lots of recording, but I see my teaching taking priority as I get into my later years.
Do you focus on a specific area of percussion, if so, did you always?
I really try to play in all genres of music and percussion. I have had a symphony job for the last 30 years and I also play lots and lots of drum set and hand percussion on recordings and with several groups. I also teach marimba and vibes as well as everything else at the university, so I have to try and keep up with that area.
Growing up I started out with three years of snare drum studies with books like N.A.R.D, Wilcoxon, and the Pratt books. I got my first drum set at age 12. I was playing in wedding bands and rock bands by 13, and performing with a semi-pro big band at 15. So I guess you could say I focused on hand technique and drum set for the first 5 years of my studies and then I started playing the mallet instruments and timpani in high school. After that I went to Manhattan School of Music and participated in both the Classical and Jazz areas.
Who impacted your musical growth the most?
Early on I would have to say my high school band director, Andy DeNicola and my teachers who I have already mentioned. Also, at the Manhattan School I was in the jazz program with bassists Todd Coolman and Drew Gress as well as Richie DeRosa and John Riley. They were getting their masters degrees and I was just 17 years old so it was a nice chance to learn by playing with, watching, and talking with them. Bob Mintzer, Jack Gale, and Jimmy Knepper also helped me a lot. I was the drummer in the jazz combos they all directed at the school.
What teaching positions have you held?
I have been a professor at several schools including Lenoir Rhyne College, Gardner Webb University, The University of South Carolina at Columbia (adjunct Jazz Percussion), and I am currently a Senior Lecturer at the University of North Carolina at Charlotte. I have been there for 22 years.
What percussionists have inspired you the most and why?
Really too many to list but I am partial to the players who I grew up watching and seeing in NYC many times live: Roy Haynes, Elvin Jones, Billy Higgins, Tony Williams, Billy Hart, Mel Lewis, Steve Berrios, and Steve Gadd. I also used to go see the New York Philharmonic quite often growing up and I was a big fan of Buster Bailey and Walter Rosenberger.
Is there a specific genre you enjoy performing the most?
I love playing Brazilian music and I did that in NYC for a time in the 1980’s. I also played lots of Salsa/Latin jazz gigs, and of course all kinds of straight ahead and avant garde jazz gigs as well. I enjoy performing with the orchestra and opera, but after you do that for 30 years it can get repetitive. I actually really enjoy playing percussion for all of the touring Broadway shows that come through Charlotte. They are very challenging, and the gigs usually last a few weeks to a month in town so there is not enough time to get bored.
What composers do you identify with and why?
There are certain composers that write really well for percussion including Mahler, Ravel, Stravinsky, Shostakovitch, and Puccini (opera) so I always look forward to performing their music with the orchestra. I used to play a lot of John Cage’s music. He was at the Manhattan School from time to time while I was there, and I always enjoyed watching him rehearse with his groups and playing his music. In the jazz world I love the compositions of Wayne Shorter and Thelonious Monk. Their tunes create a harmonic and rhythmic atmosphere that is very unique and makes them fun to play. When I was growing up I loved going to see the Mel Lewis Orchestra at the Vanguard. Those Thad Jones charts are so joyous it really made me want to be a big band drummer.
Do you get nervous before you play – if so, how do you deal with it?
It depends what instrument I am performing. On drum set I never get nervous. When I am playing a solo with the orchestra like Bolero or mallet solos such as Appalachian Spring or Sorcerer’s Apprentice I will get a bit nervous just waiting for it to happen. Once I get going I am fine. When I was in college I tried a beta blocker but I didn’t realize that it interfered with asthma, which I have, and I ended up having to go to the emergency room so those are not an option. I know that lots of folks use those for auditions and performances these days, and I don’t think there is anything wrong with that. I have just had to handle it in a different way. As you get older it gets better because eventually you don’t really care what anyone thinks since you believe in yourself much more as time goes by. With me it’s really about preparation. You should be able to perform when you are sick, nervous, tired etc., all which happen on occasion. If you know you can do it and have done it under extenuating circumstances, it is repeatable and therefore you know that you will be able to give a good performance in all situations.
Do you ever make a mistake while performing? If so, how do you go about resolving it?
Yes of course, I make mistakes, but very rarely. Everyone does. I have played in a professional orchestra for a long time and I have heard every member make mistakes in concerts from time to time. It just happens sometimes and tends to get worse as you get older because technical facility begins to decline. I always tell my students that you will make technical mistakes but mental mistakes are not permissible as those can be avoided through preparation and concentration. Technical mistakes are just part of the situation and it could be because the equipment, the conductor, or other musicians around you are affecting you in some way. The thing is not to make mistakes because you did not prepare correctly. That’s inexcusable.
Has your practice regimen changed from when you were a student? And how do you keep your technique fresh on all primary percussion instruments?
When I was a student in college I practiced about 6-8 hours a day during the school year, and then 12 hours a day during the summertime. I would divide the practice time up into groups: orchestra audition prep, mallet instruments, timpani, drum set, and hand percussion. I didn’t have much of a social life back then, but the time I put in really paid off. After I graduated I was on the road a lot so it was difficult to find practice time. That was a big adjustment for me, but I did transcribe quite a bit as a substitute. I still practice four hours on most days. It really depends on what I have coming up which takes priority. During this pandemic I have been going back to my younger days, practicing around 8 hours a day, as well as making videos for my YouTube channel. It’s been nice since my kids are all grown up and have their own lives, and my wife has her own interests. I have not had this kind of time to myself in 30+ years.
How do you define a good musician and a good teacher? And has your definition of both changed from when you were a student to the present?
A good musician is someone who can sound good in all types of musical situations as well as having a good grasp on the intellectual parts of the field, such as reading and writing music. Those intellectual parts are not crucial but they are helpful if you want to have a long career in the field. Having a great sense of rhythm is a must, and if you play a tonal instrument you must be able to play in tune, and if necessary, adjust your intonation to the situation. You must also be able to convey emotion through your playing and inspire those around you to play better. When you are playing with other musicians you are part of a team, and every member of that team must perform their roles to the fullest otherwise you will not be making good music.
A good teacher is someone who understands these things and has experienced them. That is the only way they can understand them and pass them on. I have always believed these things since I had great teachers who were professional musicians. They knew from experience what was going to happen in certain situations because they lived it.
Do you think that performing and teaching are intrinsically intertwined? If so, how and why?
They are very much related and necessary. Not all good musicians can teach because they lack patience and maybe a full understanding of how they do what they do. Sub par musicians who teach can only do so up to a certain level since they will be unable to demonstrate and keep up with a really talented student. In order to be a great teacher you must be a good musician. A great musician does not automatically make a good teacher.
Has teaching made you a better musician, if so how and why?
Absolutely, I have learned more about myself through teaching than would ever be possible just being a performer. My students keep me on my toes and I always have to be very familiar with a piece they are working on, which many times is something newly composed that I am unfamiliar with. I treat every student as a unique individual with certain strengths and weaknesses. I do not have one curriculum I use. Instead I customize a curriculum for each student and attack their weaknesses and make them strengths. This is a challenge for me and very invigorating. It has, over many years, made me a much better musician and teacher.
What is Acoustic Barn Productions, and what inspired you to create your Youtube page?
Acoustic Barn is my recording studio and mobile recording business. I built it in 1994 and I have done thousands of recordings there and on the road. Some artists I have worked with include Branford Marsalis, Ellis Marsalis, Delfeayo Marsalis, Ed Thigpen, Harry Connick Jr., Jimmy Cobb, Michael Carvin, Michael Spiro, and Jim Brock. I also use the studio to teach privately and online, as well as make videos for my YouTube channel.
My Youtube Channel was originally created to help my students with their lessons. I would record the solos they were working on and send them the links. I made it public about 10 years ago and it became pretty popular. I use it a lot to teach and I think it is good to have a resource for my students and the general drumming/percussion community.
Knowing what you know today, would you change anything about how you prepared for your career? If so, what and why?
I might have gotten my Masters and Doctoral degrees. I could have done it in three more years at Manhattan School of Music after I earned my performance degree. By that time I was ready to get out of school and I wanted to tour so that’s what I did. I eventually did get a good college job but it would have been easier with the advanced degrees. Back then doctorates were less common. Now it seems like everyone has one and it’s much more competitive in the academic world. That said, I am very happy with how things worked out for me and my career.
What words of wisdom would you share with a student who aspires to make a career as a performer and as an educator?
These days if you want to have a successful and long career in the arts you will most likely need to combine performing and teaching. I would suggest going to a good college with a well established music program and becoming a versatile percussionist/drummer. You may also want to get a Music Education degree. If you have the fortitude and want to teach on the college level one day you will need your masters and doctoral degrees. Performance wise, the more you can do the more opportunities there will be for you to earn a living. This includes skills on drum set, hand percussion, the mallet instruments, timpani, and orchestral percussion. If you just play drum set or if you are only working on being a classical percussionist your chances of success are much slimmer. The orchestra I perform with recently had separate percussion and timpani auditions. I was on both audition committees and in each case over 150 players applied. Out of those we picked 50-60 to attend the auditions and of course only one of them won in each area. The thing is that most of them were qualified on paper, and many of them played well but not well enough to get the job. It’s just really difficult to win an audition these days. So if that’s all you do then you are probably going to have a difficult time making a living performing. Versatility is the key.
If you would like to learn more about Mr. Dior, please visit his website at:
http://www.acousticbarn.com/rickspercussionsite/aboutrick.html
