Drumming in the South

I was lucky enough to grow up in Florida in the Sixties. I heard a lot of Cuban music. As a drummer, I can definitely say, it affected my curve ball.

“And the winner for the Most Talented of the senior class of nineteen sixty seven is Russell…uh Buddy Helm!” There was a cheer, I could hear it through the roaring in my head. I was frozen, I could not move. I was running backward and forward frantically on the audio tape that I had made for the soundtrack for the class awards in the full auditorium; five hundred and sixty two seniors. I sat behind the curtain, unable to get up and move to the front of the stage and accepted my award. I kept rerunning the audio tape, on my Roberts state of the art stereo recorder. I could hear it screaching and speeding up and down on the big speakers. It was a horrible sound like a Hitchcock soundtrack. Its what Frank Zappa was doing only I had never heard him. I didn’t want to be seen. I had been trained not to be seen by my mother and her unannounced fear. I was hiding.

I could hide behind a drumset too, it worked out; while I was making a big noise about my particular predicament. I was angry, and could not speak, but I could play really loud if I wanted to, If I needed to. It covered over the fear, the fear that was connected to something untold. But when the groove was there, I felt good. Everything was OK. I even smiled.

 

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healing drumming

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Lenny Bruce and our History of Resonances

excerpt: “History of the Groove, book three” Russell Buddy Helm ©2014 all rights reserved

History of Resonances. We all seem to have them. They go beyond time and space and inhabit our dark world; the unknowable. That is why the drum was invented; to articulate the mystery without using words that limit.

1968. “The Essential Lenny Bruce” was an important paperback for me as I slouched in the back of the Theater Arts course at University of South Florida. My first session. Suddenly a blonde energetic smiling clever beauty came gliding in, late and laughing. She joked with the chunky bearded professor who went all agog at her good looks and clever mind. He fell in love in about two seconds. I ignored it. The whole “college to get out of the draft thing” was uncomfortable. I would have preferred to focus on music; the band I had now was pretty busy. A local business man had chosen us as his pet music project. We rehearsed in the lunch room at his clothing factory. He block booked a recording studio and put us in it for three months; we finished an album, I shot movies of the whole amazing event. But I wanted more. I wanted a hit. And I wanted a band who could play, really play.

I put Lenny’s paperback in the right hip pocket of my slacks. I didn’t own a pair of blue jeans.  Little did I suspect that I would become intensely involved with Lenny Bruce’s manager, involving hit records, dolphins and murder in less than five years. Coincidence? That explains nothing. Harmonic resonances affect us in ways that we are just beginning to suspect. I see it in the drum. I used to drum and get work. It was that simple. Then time passes and patterns emerge. Echoes of other times and places and loves become dominant. Grooves change. But the ability to conjure using the simple sacred grooves is a skill that few drummers really understand, let alone use.

Resonance is vibrations. Vibrations are rhythms. Grooves can be like living entities. They make things happen and they respond to things that are happening outside of our vocabulary of literal definitions.

I could not fathom that the woman who had just arrived was there for me. She would get a hold of me, give me drugs for the first time in  my life, sexually appropriate me, brainwash me, trick me into interrogation scenarios using campus psychology staff,  then take me to CIA in DC as a recruit for antiwar undercover spying; undercover as a rock star drummer.

“Mom?” I asked her, a year earlier, back in high school, as she sat in the Florida room, enjoying a read of the Sunday St. Petersburg Times. She deserved this respite after much effort and travail; arriving here was acceptable and good. “What did my father do?”

She answered automatically, precisely, with no hesitation. “He was in Naval Intelligence and he worked with rockets.” She revealed absolutely nothing else. But it only hinted at the depth that was not being spoken. “Did  you love him?” The paper trembled. “Everyone is entitled to that much bliss at least once in their lives…. I would have jumped off a cliff for that guy.” I went back into my bedroom then and put away the scrapbooks of rockets and newspaper clippings about spies, deep down in a bottom drawer and tried to forget about them. It was not a welcome subject.

My older ‘college girlfriend’ used the music; “Don’t make promises you can’t keep” by Tim Hardin, over and over while we thrashed and lay in bed. Arthur Lee and Love, Holey Modal Rounders. An education for me. Unknown by me, she was programming Pavlovian responses. I would behave how she wanted me to behave. She pinned me down on the couch and shaved off my goatee. She didn’t like it. I couldn’t move while this happened. She was directing the show. Coincidence that she had picked me out of everyone in the class to do a project with? That explains nothing. I had wanted to be in the CIA when I was younger. It felt right. My father’s business. I studied the things that were called Tradecraft from an early age. They were talents needed for espionage. Martial arts led me to Alan Watts and Zen, and Chinese medicine, meditation. These felt right. More right.

These interests might have been typical for a lot of young men of that era, but one other element of my accumulated resonances seemed utterly unique; the psychic skills. They were the most exciting and elusive.

Theorists speculate psychic talents can appear after a person has experienced great trauma. Well then….that could be all of us. If you were born, you have delayed stress…But there are terrible events that resonate through our lives like a gong that will not die out. Or a gong that has yet to be played but knows it will.

Rudi was a French Viet Namese martial arts instructor.  I had tagged his assistant teacher at the Clearwater dojo during a test for a belt upgrade; kicking and hitting him simultaneously. “How did you do that?” the assistant instructor asked. “Oh yeah…You’re a drummer.” I hesitated to tell him that my lead singer was having an affair with his girlfriend; that would have muddied the waters. I was gifted with timing, long arms and legs but not able to use the killer instincts; lacked the will to kill. In reality there was so much anger in the way, that it was impossible for this young man to allow himself to be that powerful…or that calloused. He was becoming aware amidst the training to break bones, that building a connection to the ineffable was important and it gave him a sense of peace in a world of threat.

But the circle of resonances and paradox would come back around in reasoning like: “A good spy needs to be psychic…”

It was a bruising kind of love, partly as a result of my daily intake of Mu Tea and Ginseng in keeping with my calling to be a zen monk drummer, continually keeping me in a state of readiness for my unrevealed recruiter / lover. “How can you be like that even when you’re asleep?” She chided. I was focused on learning Bushido when I could have been noticing how wacked out this ‘State Department Brat’ as she called herself, really was. But then wacked out women were what I grew up with. I knew the feel and sound of that resonance. But this woman, my first girlfriend out of high school was running an agenda that I could not anticipate or even imagine. It went all the way back to a favor my father had done for some old friends back in nineteen fifty three; the year he was killed, when I was four and a half years old.

Excerpt: “History of the Groove, Book three” Russell Buddy Helm ©2014 all rights reserved

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Greenwich Village 1969; alive with genius and stylish desperation

Greenwich Village 1969; alive with genius and stylish desperation

“History of the Groove” Russell Buddy Helm ©2014 all rights reserved

The Village 1969; alive with genius and stylish desperation. The greatest hive of creativity in the world, the main artery of art, pulsing up through your body, activating your mind. But everyone on the street looked almost colorless tonight, and soundless, as I peered out the soundproofed blacked out window, insulated in the backseat. Cruising through Bleecker and Macdougal, Sam, the  children’s clothing magnate and new producer /manager of my Florida folk rock band looked at me in the rear view mirror from behind his leather wrapped steering wheel. “Baahhdddy…” He drawled in Yiddish Manhattan. “…you going to be RRRich Man someday..” My  college girlfriend/ CIA recruiter was sitting next to me, squeezing my hand, letting me know she wanted sex, here in the backseat of Sam’s new El D. She had great plans for this kid. She was taking him around, showing him the sights, hanging out with the soon to be rock star but also, as per her unspoken agenda, underground antiwar informer for Spooks Unlimited.

We met with a music publisher, an old friend of Sam’s. He gave me a song he wanted recorded. It had been a hit in Sweden, or Norway or someplace up there. Lyrics were in Swedish but this Tin Pan Alley publisher guy had them translated by some cretin. He wanted my band to cut the song for an American release. I didn’t want to do it, but Sam was smoothly coercive, just like my girlfriend.

Back in our Tampa recording studio we reluctantly recorded a version of this very lame folk song about music being played in a very conservative church for the first time. The society was opening up back then, and this concept of live folk music in a church was big news. “The Beat” was pushing itself into the sacred domain of religion in cultures that had no youthful energy in their Sunday services. There were a lot of these kids, so the churches reluctantly opened up to the concept of live music as part of their service that had not changed for hundreds of years.  The groove was finally becoming undemonized. It was heartening news all over but I certainly didn’t like this arrangement, or the lyrics. It of course became our first single and it went up the charts on Billboard. It was humiliating. Our album was never released, probably because I decided that playing house with “Maggie May”, my college CIA coyote, was a little too rich and dangerous for my blood.  My mother had warned me about her, “Buddy, don’t get involved with a woman that has more problems than you.”

“History of the Groove” Russell Buddy Helm©2014 all rights reserved

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There was a head shop in the heart of Coconut Grove

1970. One of the Original Grove Kids  had a head shop in the heart of old Coconut Grove. One of the first. It was an old style South Florida wooden house with a gabled tin roof,  lots of windows with sashes for hurricanes. Lately, the yard had become a gravel parking lot and the original tenet had long since gone on to produce huge rock concerts, in other parts of the country. Currently there were two nasty Miami Beach mafia torpedoes, standing next to their canary yellow Cadillac convertible and surveying the motley crew of skinny long hairs in front of them. Eddie and his brother were Miami rock concert promoters of various dubious distinctions. They had booked the Bethlehem Asylum on various gigs, including a rock festival on the nuclear submarine base in Key West where all the enlisted men wore Hawaiian shirts, stood at parade rest as the go go dancers bounced up and down in cages at either end of the giant stage while the Asylum pounded out their extraterrestrial jazz amidst the psychedelic light show bouncing around the cavernous fighter jet hanger. Later, Eddie had asked Jim, the theatrical bassist for the Asylum, to accompany him to a “meeting with some associates”. Eddie was hoping not to get killed by these guys by bringing along this new weird breed of Rock n roll businessmen. It ended well. Eddie was grateful, and the Mafiosi probably had a good laugh about it later.

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Keep Seasons Studios growing: Donations, Contributions, Tips, kick start the next book and CD on Healing drumming at Seasons

Keep the Seasons Studios growing: Donations, Contributions, Tips, kick start the next book and CD on Healing drumming at Seasons

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 Email us at buddy@buddyhelm.com and explain how you want the healing drumming meditation directed.

Example:  Please direct the healing drumming toward yourself, another person, a situation, a condition, your wishes for the future or something else.

Donate to the Healing drumming workshops that broadcast every Tuesday and Friday night at 7pm Pacific, and Sunday at 3 pm on Justin.tv/buddyhelm and Youtube/Gooogle+ Russell Buddy Helm


kick start the next book and CD on Healing Drumming.

Keep the longest running drumming meditation workshop grooving onward and upward: Give it up!

The next book is in the final rewrite: “History of the Groove” If you would like an advance copy, or just to support this cause, please share your good fortune with us and others who will benefit.

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Buddy Miles was singing, “My Mind is going through those changes”

excerpt: “History of the Groove” Russell Buddy Helm ©2014 all rights reserved

1970. I came to, flat on my back. I opened my eyes and looked up at a circle of people staring down at me; a worst case scenario nightmare. It’s real? Buddy Miles was playing loud and live just a few feet in front of where I had just passed out. He was singing, “My mind is going through those changes.” and the band was pumping. We were at the Jai Alai Fronton in Miami on a hot and humid night. I was wearing a leather shirt; a dumb thing to do in Miami. Its hot. Someone had given me a cup of what I thought was coca cola as we went on the stage, I drank it deeply and the next thing I knew I was unconscious. I had dropped like a stone.
“Everything’s OK.” I heard Buddy Miles say to the concerned audience as I tried to move. “Somebody just had too much to drink.”
I was helped off the stage and got to a chair in a dressing room backstage. Charmaine, the Miami FM underground DJ sat with me, holding my hand. I had no idea what had just happened. She didn’t either. Whoever had dosed me was gone. Strange things had been happening to me for awhile and I was trying not to get paranoid but this was scary. I went to see a heart specialist the next day. Everything checked out fine. I got my medical deferment selective service card in the mail from the draft board the next day. It was weird. I wasn’t going to Viet Nam but there was freaky shit happening to me here, in Coconut Grove. I had a suspicion that it had something to do with me telling the CIA to fuck off, but I had no way of being sure. Six months earlier, I was delivered to Washington DC without telling me what it was about. I didn’t even know I was the guest of CIA until I arrived in Georgetown, driven up by my “college girlfriend”. She was older, hot, and had picked me up at University of South Florida in Tampa, in a theater arts course. I had no idea that she had an agenda planned for me. They wanted me to be a drummer for the CIA; go undercover in the antiwar movement and fink on the activists. That did not appeal to me at all, even though I had wanted to follow in my deceased father’s footsteps in the intelligence game when I was younger. But by the time the Viet Nam war was raging in our living rooms, I decided it was not a good idea. Besides music was beckoning to me. Mother had encouraged my creativity, but had also kept me in a state of apprehension about what, I was never quite sure.

excerpt: “History of the Groove” Russell Buddy Helm ©2014 all rights reserved

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