Since 1994, Ricky Burkhead has been the Director of Percussion Studies at the University of Mississippi, and prior to his appointment at Ole Miss, he served on the music faculty at Mississippi Valley State University. In 1995 he created the University of Mississippi Steel Drum Band, making it the first world music ensemble organized at Ole Miss, and has performed concerts in Mississippi, Alabama, Florida, Tennessee, Missouri, and several state band clinics. This ensemble, as well as the other he founded at Mississippi Valley State University in 1986, are among the first formed in the entire Mid-South Region.
Professor Burkhead earned a Bachelor’s of Music Education Degree in Instrumental Music from Mississippi Valley State University, and a Master’s of Music Degree in Percussion Performance from
Eastern Illinois University. He is a member of Phi Mu Alpha, and a roster artist for the Mississippi Arts Commission. Moreover, he is an artist endorser for Majestic Percussion, Remo Inc., Zildjian Cymbals, Vic Firth, LP, and is active as a performer and adjudicator; conducting clinics throughout the United States, Argentina, Uruguay, and Jamaica. He is a Past-President of the Mississippi Chapter of the Percussive Arts Society; a former instructor at the United States Percussion Camp; and formerly a clinician for the Florida Music Educators Conference, the Missouri Percussive Arts Society, the Mississippi Music Educators Conference, and the Mississippi Bandmasters Conference.
In addition to his duties at Ole Miss, Professor Burkhead maintains a private teaching studio, operates a recording studio, and is an active freelance percussionist having performed with the Memphis, Tupelo, Corinth, and Delta Symphonies. Furthermore, he is a composer and arranger, and has partnered with composer and musician Slade Lewis to perform and record music for a film by Micah Ginn; for documentary films by Joe York and the Southern Food Alliance, and the Ole Miss Law School, to name but a few.
When did you begin studying music?
I started playing on pots, pans, and boxes with butter knives, and twigs when I was eight years old. My mother observed my interest and bought my first snare drum. Kid drums were cheaply made back then (tin shells and paper heads). I received my next snare drum when I was nine years old. That one was made a little better (plastic shell and plastic head). I received my first drum set at age 12, and by age 14 I was playing gigs with older musicians. I didn’t join the high school band until the 11th grade. That’s when I learned to play rudiments, and read notation for snare and drum set. You can say my first teachers were the high school band directors and friends in the percussion section. Also while in high school I took a music theory class, and had to compose a piece for the symphonic band.
Did you always study percussion?
I attended Mississippi Valley State University from 1978 – 1982 where I majored in Music Education with a percussion emphasis. I studied percussion all four years at MVSU. My freshman year I didn’t have a percussion teacher. The department chair gave me lessons on snare drum. Jeff Pellaton was hired my sophomore year and he changed my life. He was my first professional percussion teacher and helped me to become proficient on the basic percussion instruments (snare, drum set, timpani, multi-perc, marimba, vibes, and xylophone). I did well in music theory and became interested in composition. I began composing songs on piano and even wrote a piece for the marching band’s halftime show.
What made you choose percussion?
I listened to the radio and my older sister and brother’s record collection that introduced me to R&B, Jazz, and Funk music. I was always drawn to rhythm and rhythm section instruments. High school band exposed me to marching, concert, and some Latin percussion instruments. Playing in the college percussion, mallet, and percussion jazz rock ensembles gave me even greater exposure to a variety of percussion and world rhythms.
Who were your primary teachers?
Nathan Jackson, Russell Baxter, Willie Henderson, Jeff Pellaton, and Johnny Lee Lane.
When did you decide to pursue a career in music?
I entered college wanting to be a rudimental snare drummer. Once I discovered there was so much more to experience and enjoy, I decided to be an educator/performer my sophomore year. That was also the year I attended my first PASIC in New York City. And it was there that I met my graduate school teacher, Johnny Lee Lane, who was also Jeff Pellaton’s undergraduate teacher.
Did you have a specific goal: teach, compose, etc.?
My goal has alway been to teach and perform. Throughout the years I have also composed and arranged for drumlines, percussion ensemble, and have published my own CD of songs.
Do you focus on a specific area of percussion, if so, did you always?
My interests are diverse. Drum Set was my first instrument and I perform on it more than any other percussion instrument. I enjoy teaching solo and ensemble percussion instruments. I’m active with steel pans, both solo and ensemble teaching/performances.
Who impacted your musical growth the most?
My high school teachers: Russell Baxter, and Nathan Jackson; and my college professors: Jeff Pellaton, and Johnny Lee Lane.
What teaching positions have you held?
I was an Assistant Professor of Percussion at Mississippi Valley State University from 1985 – 1994, and since 1994 a Professor of Percussion at the University of Mississippi.
What percussionists have inspired you the most and why?
My first inspirations were the drummers on Motown, Staxx, Hi, Blue Note, and TSOP records. Later I was inspired by Harvey Mason, Steve Gadd, and Ralph McDonald. Leigh Stevens was my introduction to the wonderful world of mallet percussion.
Is there a specific genre you enjoy performing the most?
My top five are: Jazz, R&B, Gospel, World, and Symphonic music.
What composers do you identify with and why?
Stevie Wonder, who is one of the most talented musicians, lyricists, composers, and performers in the history of the world. I also admire the works of Mitchell Peters and Murray Houllif. I enjoy performing their music and their compositional styles are similar to how I create.
Do you get nervous before you play – if so, how do you deal with it?
Not if it’s a drum set gig. I do get anxious before a solo performance on stage or similar venues. I never look directly into the audience before, or when I walk out on stage. I don’t want to identify any faces that I know, so I focus on the back wall prior to taking my bow. Once I start the first piece, I try to stay focused on the music, and assure myself that I’m fully prepared.
Do you ever make a mistake while performing? If so, how do you go about resolving it?
Yes, I do. When it happens I try to put it behind me and continue with determination to perform the remainder of the piece just as I’ve prepared it.
Has your practice regimen changed from when you were a student? And how do you keep your technique fresh on all primary percussion instruments?
Yes it has. As the technical and musical demands of contemporary literature have changed, so has my warmup routine on all instruments to deal with these demands. I also warmup and strengthen my technique by playing through sections of pieces.
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 technically sound and has the ability to convey the many nuances and emotions of the piece they are performing. A good teacher has the ability to inspire, correct, and in many cases, demonstrate what they are encouraging the student to do. Yes, my definition of both has changed from when I was a student.
Do you think that performing and teaching are intrinsically intertwined? If so, how and why?
I think they can be. Not all performers are effective teachers. Teachers, who are also good performers, understand what it takes to aid the development of their students and mentor them to become confident performers.
Has teaching made you a better musician, if so how and why?
Yes it has. I think I learn more from my students than they do from me. No two students are the same. Teaching helps to reinforce your fundamentals, and you get to experience multiple levels of literature.
What motivates you to compose?
When an idea such as a motive or phrase comes to mind I try to develop it into a theme, hook, or some section of a piece. At other times inspiration comes from music I’m listening to.
How do you feel when someone interprets your music differently than you intended?
Although I’m open to different interpretations, I appreciate it when performers respect my intent.
Knowing what you know today, would you change anything about how you prepared for your career? If so, what and why?
No. I always tell anyone who asks that I’ve been blessed. The teachers, students, colleagues, teaching positions, education, and my family have all been an integral part of my happiness. I am happy that my children and grandchildren have decided to be musicians. My son, Tim, is a professional drummer, audio engineer, and music businessman based in Nashville. My daughter, Rachel, plays the saxophone and is an avid music listener. My grandsons, Kaden and Kaleb play percussion; my granddaughter, Gabby is now playing the clarinet; and my wife, Annie, is our cheerleader.
What words of wisdom would you share with a student who aspires to make a career as a performer and as an educator?
Make sure you have a passion for teaching or performing. You will know if you are capable of being an effective teacher if you enjoy mentoring students and helping them develop musically. If you take pleasure in preparing pieces, performing, and entertaining others you will probably be a gratified performer.
If you would like to learn more about Professor Burkhead, please visit his website at: https://rickyburkhead.website/
