It was Karl Brazil''s dream to become a successful drummer from a very early age. His determination, passion and love for the drums has now positioned him as one of the U.K.’s most respected session musicians. From James Blunt, Natalie Imbruglia and Feeder to now being in the drumseat for Robbie Williams shows his precision, power and personality has paid off. In a short space of time Karl Brazil become a noted drum clinician, sharing the stage with drum gurus such as Dave Weckl, Jo Jo Mayer, Zoro, Keith Carlock, Benny Greb and Omar Hakim, and playing high profile events such as Drumfest and Drummer Live. With a humble attitude and a confident self belief it would seem the business has groomed Karl well.
I caught up with him in rehearsals with Robbie Williams as they prepared to launch his promo tour.

Well Karl, from James Blunt straight into Robbie Williams, give me the news?

Well it’s been quite a year and coming off the road with James was tough at first, although I was excited about having a rest and I did exactly that. I did the odd studio session and then the Feeder gig came along much to my surprise. I didn’t expect to be given a shout at a gig like that. I got on really well with the boys doing twelve dates and a couple of festivals, finishing at Sonisphere which was a real highlight for me. Playing with Feeder is completely different to what I’ve have been doing over the last few years so for me it was a great challenge and stimulating experience. It certainly gave me a lot to think about style and power wise. I really threw myself into the whole gig and loved every minute of it.

The drumming parts in Feeder have been really thought through; it’s all very musical as well as being loud and intense. They’ve had two great drummers Jon Lee and Mark Richardson which made it a tough challenge. We have been recording some new tracks which are coming along nicely. I can’t wait to hear the finished product!

I then got the call for the Robbie Williams gig which will be mainly promoting his new album ‘Reality Killed The Video Star’. I put the phone down after and thought “somebody up there likes me’’ I felt honoured and very excited about the prospect of playing all those great tunes. Being a session drummer does offer that surprise element of not knowing who, where or what’s next on the agenda.

Reeling the clock back to when you started, you’ve come a long way in a short period of time, working and performing with great profile artists and bands. It’s a learning curve to teach yourself through experience on how to become a professional in this business and arguably it’s something you teach yourself as you go through your career. What lessons have you learnt and what has shaped your attitude as a professional?

It’s been said many, many times that half this business is how you conduct yourself and get on with people – I believe it’s a massive factor when doing any tour. There has to be a good atmosphere. You can be a great drummer but you’ve got to get on with people and be professional. That comes with experience and something that you’re not necessarily taught. Everyone doing their job and playing their part in any touring machine is what makes a tour work.

My father is also a touring musician so from an early age I was introduced to life on the road. I love meeting new people and I’m good at talking as you know (laughs) The advice I can give young players from my experience is ultimately to challenge yourself, do lots of different things musically. There will be things that you might not think are right for you but when you throw yourself in the deep end you learn so much. Get involved and keep active.

Your love for drums stems way back from when you were a kid working for Musical Exchanges in Birmingham and I guess that’s where you had to interact with people?

I worked in the drum and keyboard department which was useful even though I’m not a keyboard player - it was a great way to learn about music technology although it did put me off ever wanting to play keys! Again, I met people through the shop and that’s when I was asked to audition for Bitty McLean. I was seventeen and as fresh as a daisy. This was my very first audition and later my first taste of touring at a major level. When that stopped I was chomping at the bit to tour again. I had to wait a little bit and started playing around locally with Ruby Turner , Trevor Burton and then the Ronnie Scotts house band thanks to my teacher at the time, Steve Palmer. This gig lasted for about a year which was a massive education for me. After another audition the Darius gig came along which was so much fun. I was stuck in Pop whirlwind with a guy that had become huge in the U.K overnight. From that point on my life has moved at a fast pace. I have made some great friends and been fortunate to have played with many great bands and artists. The important thing is that I’m lovin’ every single day of it and wouldn’t change it for anything.

I’ve think I have built a reputation both live and in the studio. Getting called by producers, musical directors or bands and artists because of the way you play and sound is a nice compliment. It’s great once people trust you musically and know what you can potentially bring to the mix. I’m definitely a bit of a workaholic and I’ve had to say to myself at times “have a break here”. And I did before these Robbie Williams rehearsals started. I went and had a week in Majorca with my family and then I went to Kefalonia for another week which was just the perfect thing to do. Hanging round the pool with my iPod doing my homework but relaxing at the same time. That’s one important lesson I’ve learnt is to have a rest - we all need it at times and sometimes don’t know it until we stop.

You’re very ‘hands on’ when it comes to equipment and don’t leave it to your drum tech. You take time choosing the drums, cymbals, setting your kit up and focusing on the right sound for the gig and even the look of the kit to certain degree.

I’m a bit of a perfectionist. Each gig I’m doing is so different that rather than try and explain to someone what I might need I just prefer to get it done myself and know what’s turning up. For example Robbie’s older material and new material covers a wide spectrum of drum sounds making it so important to choose a generic kit that works. Getting the right sound, pitch, character from my drums is essential to me especially on recordings.

How do you prepare for an audition?

Auditioning is not a nice thing for anybody and it doesn’t matter how many auditions you’ve done and I’ve done a few in my early days and its not easy. Looking back it’s really about doing your homework and of course presenting yourself well. Turn up on time and don’t be afraid to express your character. On a personal level, be quietly confident, express yourself, mean what you do and be a team player – if that doesn’t work then it ain’t meant to be. It really is a tough thing auditioning and not a nice thing for anybody but you have to go through it if you want to be heard.

How much did you really want the success and did you have any plans laid out?

I never had any strategy really; all I know is that I have loved playing the kit since I was a kid drumming along to my fathers old Eagles LP’s. To become a known as a successful drummer or have anyone compliment you on what you do is a lovely thing. I think it’s every drummers dream to be on a nice gig so I’m very grateful of the work I get. I have put my drums first almost all my life which has had its costs and rewards. There are things in life you have to let go or sacrifice like your social life or family time. These are things you have to get you get used to. When I have got back home from long tours it’s all a bit strange for a while. You’re always reacclimatising yourself. Going from touring routines to suddenly being home and putting the bins out in the space of 24 hours is just weird!

It’s been said there’s room in this business for everybody.

I reckon so! Especially at the moment with the mess record industry is in. There’s more live touring ‘cos that’s where the money is to be made for bands and artists. Therefore, there’s musicians needed which is a great for everybody. There will always be room for great new talent as far as I’m concerned.

How has the current economic climate affected the industry and are there any ‘look out’ points for drummers entering the arena of sessions etc?

I think it’s tough for new artists getting record deals. The money just isn’t there at the moment. Trying to put a bunch of musicians around a new artist on a squeezed budget must be tough.
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I don’t think the credit crunch has affected live touring for well established acts at all, you just have to look at the amount of festivals in the U.K we have had alone this year, there has been loads.

Glastonbury was a massive success – it’s all good.

With James Blunt and now with Robbie Williams, you’re going to do a lot travelling, how do you cope?

I’ve done a lot of travelling with James over the last four years. Needing a break was one of reasons that the Blunt World tour had to stop for a while. It could have gone on forever. Having a breather makes you appreciate what a great time you actually have on the road. Once you have restored your energy levels you soon get itchy feet. Robbie’s not about to tour, this is just promo in the U.K., Europe and Australia. There’ll be the odd bit of time off and with nice random performances in great places. If I didn’t enjoy travelling I think I’d be in the wrong job!

Who’s inspiring you at the moment?

I’ve played at V Festival this year and got a chance to see some great British players. I particularly enjoyed Troy Miller and Gareth Brown who were playing with Daniel Merriweather and Julian Chambers (Lemar) was on fire. Other players who’ve been a real inspiration for me are Abe Laboriel Jnr (a great song player with a lovely feel), Jeff Porcaro (a massive influence who I learned so much from in terms of his playing, placement and taste) and Phil Rudd from AC/DC who I was lucky enough to see earlier this year. Need I say more..?

When you first got into the position to be endorsed, how did you choose the equipment you now endorse and what are the key factors that matter to you about having a product endorsement?

I was lucky enough to be approached years back by Arbiter who distributed at the time all the products I play now. I have had the most fantastic support around the whole world whilst on tour. Communication and loyalty are the most important things from both the artist and the endorsing company. I’ve been with Gretsch, Sabian, Remo, Vic Firth and Protection Racket for a long time now. All products speak for themselves and work for me on a variety of different gigs and albums. Even before I had a profile gig they looked after me. I did have to understand and respect what the limitations were with the amount of drummers on their roster. Although right now I do need a lot of support purely because of my workload. I take this opportunity to thank you all. Whether I’ve been in Kazakhstan or Nashville I have had great full support.
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