Name: Web Web
Members: Roberto Di Gioia (piano, synth, percussion), Tony Lakatos (saxophone), Christian von Kaphengst (upright bass), Peter Gall (drums)
Interviewee: Peter Gall
Nationalities: Italian-German (Roberto) German (the rest of the band)
Occupation: Composer, drummer, improviser
Current release: The new Web Web album WEB MAX II, a deep dive into spiritual jazz, marks the group's second collaboration with Max Herre. The record is slated for release October 27th 2023 via Compost.
Pure Drum Music recommendations: My favorite music usually has chords and melodies, it's just the way it is. But there is some great stuff without them. For example I love Max Roach’s record Drums Unlimited - some great solo pieces on there!

[Read our Roberto Di Gioia interview]

If you enjoyed this Peter Gall of Web Web interview and would like to find out more about the band, visit them on Instagram, Facebook, and bandcamp. Peter Gall also has a personal website.  



What was your first drum set like and what are you using today? What, to you personally, are factors in terms of build and design that you appreciate in drums and percussion instruments?

My first Drum Kit was a white beginner's kit made by Pearl, which I found under the Christmas Tree.

I prefer warm vintage tones. They have something “special“ about them and are related to the jazz drums history in a way.

I have a vintage Gretsch Bop Kit and a larger Rogers from the 60s in my studio, they are fantastic. And of course, my cymbals are from Zildjian.

Late Rush-drummer Neil Peart said: “The equipment is not an influence. It doesn't affect the way I play. It's an expression of the way I play.” What's your take on that?

Probably he is right. The older I get, the less I care about equipment. But I care more about “sound” and that's super important to me. Sound and touch comes more from yourself than from your gear.

But of course: the stuff I use needs to work for anything I want to express.

Drumming is an integral part of many cultures, and traditions. Which of these do you draw from in your playing – and why?

It is really important to go back to the roots as far as possible. Studying traditional rhythms from West-Africa, for example, or Indian rhythm structures for example, helps me to understand more how everything in modern jazz playing is connected.

Also I think it’s important to know where everything has its roots.

What were some of the main challenges in your development as a drummer / percussionist? Which practices, exercises, or experiences were most helpful in reaching your goals?

I think realizing that everything is about feel, groove and serving the music is a forever ongoing process for me. No matter what I practise, I try to find the essence of the feel and groove.

Usually, for me, practising stuff very slowly helps the most.  

What do you think you're doing different than other drummers?

Haha, that's hard to tell. Maybe I am not the right person to answer this ;)

How do you experience the concepts of "groove," "swing," and "rhythmic feel" in music?

For me, these elements first of all are emotions.

For example, there are so many different kinds of phrasing when it comes to playing swing - and as many ways to touch somebody's heart and make somebody want to move.

How do time signatures and tempo affect our perception of rhythm?

I try to treat any odd meter time signature as if it were a straight 4/4 meter - it should sound effortlessly. Same with fast tempos.

Usually I feel that it's harder to play 4/4 and make it sound exciting than it is with any other odd meter. Similar with slower tempos: that's were the “magic“ often gets lost. But it it's there: unbeatable! :)

What is the relationship between harmony, rhythm and melody? How do non-percussion instruments contribute to the overall rhythmic texture of a piece?

I think harmony should be really important to drummers. We have the same responsibility to feel and support the harmony of a tune as piano players have. Understanding all kinds of common chords and progression is very very important to support any music.

Same with melody - melodic drum soloing has a lot in common with tradional bebop vocabulary of a horn player, for example.

Different drums have a distinct sound and drums and percussion are also timbral instruments. What drum sound are you aiming for and how are you making use of the timbral potentials and possibilities of your instruments?

One of my important teachers, John Hollenbeck, gave me a very challenging homework in my very first lesson: Find 15 sounds just using the bass drum.

I still think of that a lot and it has become a life-long challenge for me: trying to express as much as possible with a small setup.

In relation to drumming, Stewart Copeland said: “Listening is where the cool stuff comes from. And that listening thing, magically, turns all of your chops into gold.” What do you listen for?

Listening and beeing a GOOD listener is probably the most important thing for getting hired as a drummer.

I always try to capture every detail which is happining. If I don’t manage to do that, for whatever reason, it gets frustrating. Music is just so much more fun, if you listen really carefully and with very very big ears.

Do you feel that honing your compositional / songwriting skills has an effect on your drumming skills?

Yes! Absolutely. I found it challening to play drums to my own songs at first, but it got a little better ;)

The question is always: What do I play on my drumkit, to make the song I just wrote sound as good as possible?

How has technology, such as drum machines and sequencers, impacted the way rhythm is created and perceived? Has it been a concrete influence on your own approach?

Sure it has - when I practised to play along with electronic music and tried to match the tightness of a programmed beat.

Physical strain is a particularly serious issue for many drummers. How does it manifest itself, how do you deal with it and in how far does it affect your creativity?

I want to be able to play drums to an old age - so living more or less healthy and beeing in good shape has become more and more important to me.

Also, playing with efficient technique and being relaxed usually makes it easier for me to express what I feel.

Many recording engineers have remarked that the drums can be particularly hard to capture. What, from your perspective, makes drums sound great on record and in a live setting?

Probably both: serving the music and being exciting at the same time.

And I am always attracted by drummers who just make a simple groove sound magic.

Drums and percussion are remarkably often used for physical therapy / healing. What, from your point of view, makes them particularly suitable tools for this?

Good question. From my own experience: practising drums for me is kind of like a yoga routine. It just helps clear my mind, getting grounded and relaxed.