Member of the Percussive Arts Society, Drum Corp International, and Bands of America Halls of Fame, acclaimed performer, pedagogue, composer, and author, James Campbell is the Provost’s Distinguished Service Professor of Music and Director of Percussion Studies at the University of Kentucky in Lexington. A respected figure in the development of the contemporary percussion ensemble, Mr. Campbell served as President of the Percussive Arts Society, and is a recipient of its prestigious Lifetime Achievement in Education Award. Furthermore, his award-winning works for percussion are published with Meredith Music, C. Alan Publications, Innovative Percussion, Row-Loff Productions, Bachovich Music Publications, Alfred Publications, and Tapspace Publications.
Having worked with several DCI member drum and bugle corps, Mr. Campbell is well known for his
long past association with the internationally renowned Rosemont Cavaliers, with whom he served as Principal Instructor, Arranger, and Program Coordinator; and also served as Percussion Director for the McDonald’s All-American High School Band. An artist and endorsee for Innovative Percussion, Evans Drumheads, Meinl Percussion, and a member of the Black Swamp Percussion Educator Network, he is also an Artist and Educator for the Avedis Zildjian Cymbal Company, and a Performing Artist for Yamaha Corporation of America – Band & Orchestra Division, who presented him with their Legacy Award.
Along with having toured extensively throughout the Americas, Europe, and Asia, he is also the Principal Percussionist with the Lexington Philharmonic, and drummer with the Kentucky Jazz Repertory Orchestra. Mr. Campbell has also appeared at the International Society of Music Education World Conference, International Patagonia Percussion Festival, Journèes de la Percussion, PercuSonidos Percussion Festival, Swedish Arts and Musicians Interest Organization, Australian Percussion Eisteddfod, MENC National In-Service Conference, Midwest Band & Orchestra Clinic, MusicFest Canada, All-Japan Band Clinic, The Music for All World Percussion Symposium, State MEA Conventions across the country, and frequently appears as an artist at the Percussive Arts Society International Conventions.
When did you begin studying music?
I started studying music when I joined the Guardsmen Drum & Bugle Corps in 1963 – I was 10 years old.
Did you always study percussion?
Yes.
What made you choose percussion?
A lot of kids in my neighborhood were joining the drum corps, and my closest friends were going to play drums – so I just started with them.
Who were your primary teachers?
My first private teacher was Mitch Markovitch (middle school), and then my drum instructor in high school was Al LeMert (with the Guardsmen). In college, G. Allan O’Connor was my primary professor as well as the Blackearth Percussion Group who were artists-in-residence. Over their tenure at Northern Illinois University (NIU), I had the opportunity to study with Rick Kvistad, Garry Kvistad, Michael Udow, Allen Otte, Chris Braun, and David Johnson (as well as Professor O’Connor). At NIU, I also studied with James Ross (now with the Chicago Symphony) who was a TA at the time. In the summers during college, I studied with James Lane (Chicago Symphony), and drum set with Shelly Elias (at Triton College).
When did you decide to pursue a career in music?
During my senior year of high school.
Did you have a specific goal: teach, compose, etc.?
I always wanted to teach percussion during my undergraduate years. When I went to graduate school, I knew I wanted to focus on teaching at the collegiate level.
Do you focus on a specific area of percussion, if so, did you always?
As an educator, I teach all areas of percussion except drum set because the University has a drum set teacher. As a performer, I focus on orchestral literature and drum set (big band). For clinics and workshops, I’m generally asked to cover topics such as snare drum, accessories, and rehearsal techniques for percussion ensemble.
Who impacted your musical growth the most?
G. Alan O’Connor at NIU. He taught me to listen deeply to my sound and developed my awareness on how to produce the desired sound. He would always ask big, beautiful questions that led me to finding the path to my development as a musician.
What teaching positions have you held?
Aside from drum corps positions, I first taught at the American Conservatory of Music in Chicago as part of James Dutton’s staff (1978 – 79). Then at Montana State University as Professor of Percussion (1979 – 1985); and then the University of Kentucky as a Professor of Percussion (1985 – Present).
What percussionists have inspired you the most and why?
Emil Richards – his professionalism and creation of new sounds and techniques is inspirational. Evelyn Glennie – watching her perform is a lesson in sound production, musicianship, and artistry. Fred Sanford – how to write and score creatively for marching percussion. Robin Engleman – he shared his insight and conducting skills that helped me develop my percussion ensemble rehearsal techniques. The Blackearth Percussion Group (Garry Kvistad, Rick Kvistad, Allen Otte, Michael Udow, and David Johnson) – I had the privilege to study with members of this group for many years at NIU teaching me flexibility while opening my mind to new ways of thinking about music, and introduced me to new repertoire. James Lane and James Ross (Chicago Symphony) – both helped me create characteristic sounds on orchestral instruments, and inspired me to stay cool under pressure.
Is there a specific genre you enjoy performing the most?
I enjoy serving as Principal Percussionist with the Lexington Philharmonic. I get to play the great classics as well as new music. It keeps me sharp and on my toes.
What composers do you identify with and why?
Edgard Varese and John Cage – two pioneers who are still relevant in our modern musical world.
Do you get nervous before you play – if so, how do you deal with it?
No, I do not get very nervous. I use all my energy to project positive thoughts.
Do you ever make a mistake while performing? If so, how do you go about resolving it?
Of course I do. I prepare to the level that these instances are minimal. I just keep going forward and not dwell on what I can’t change.
Has your practice regimen changed from when you were a student? And how do you keep your technique fresh on all primary percussion instruments?
At this point in my career, I only practice literature that I’m preparing for concerts. I do continue to warm up before each session.
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 one who is expressive and communicates the style with a beautiful tone and accuracy. Whereas, a good teacher is someone who creates opportunities for student growth through instructional awareness: I’m there to help the students connect the dots.
Do you think that performing and teaching are intrinsically intertwined? If so, how and why?
I believe that each informs the other. It’s difficult to perform without having flexibility and an open mind. It’s also hard to teach without listening to a student’s perspective.
What motivates you to compose?
I usually work from commissions, and friends that ask me to write something for a specific purpose or event.
How do you feel when someone interprets your music differently than you intended?
I don’t mind when someone phrases something differently or takes other musical liberties. However, when there is a specific mallet or technique outlined in my notes in the score, it shouldn’t be ignored.
Knowing what you know today, would you change anything about how you prepared for your career? If so, what and why?
No. I took advantage of all the opportunities I was provided and have been blessed to travel around the globe for my profession.
What words of wisdom would you share with a student who aspires to make a career as a performer and as an educator?
Build a wide base of experiences in teaching, research, and service to the profession – all three areas are important. I have found that it’s more important to be flexible than capable.
