THE SCORE: Hi Atma, first off, let me say what a pleasure it is to have a chance to get a glimpse into your groovy world. To start, let us know what your formative years were like at New York, San Francisco. When did you start playing, how did you start, and what were some of your first experiences drumming?
Atma Anur: That’s quite a complex question actually.
I began playing drums officially at age 11, while we were living in NYC, but my mother had told me that I would stand in front of the TV watching Ringo Starr with the Beatles, and point to him while dancing and laughing. That was at about age 2, while we were still living in London.
My High School years in NYC were quite wonderful in hindsight, any teenager thinks life is not so great while living it, wherever they may be. I first went to a Science and Mathematics School and was in the school Jazz band… but quite briefly. I later transferred to a “School without Walls” High School with a focus on music and art, something that was quite popular in some parts of the States back in the 70s.
I had my first more serious band finally in that first High School at about age 14/15. We played music by Deep Purple, Hendrix, Scorpions, Al Di Meola and quite a few other popular, but musically difficult, bands in those days.
I attended the Manhattan School of Music at age 16 in a pre-enrollment program where I studied Orchestral and Tuned Percussion… That was a great experience and really got me started in reading. From then on I regularly visited the Lincoln Center for The Performing Arts Music Library to read book, scores and listen to music LP-s of all kinds.
I had my first private drum teacher at about age 12/13. That was the legendary William Kessler, a renowned Author and Jazz Musician. I think I was very lucky to have found such a master at such a young age.
TS: How did your formal education in music help your career? What was studying at Berklee like those days? Did it help you become a better educator as well?
AA: I believe that if one is serious about a topic, one will naturally want to study that topic. Study, of course, comes in many possible forms, but I think that formal study in music is an important part of any professional musician’s life. Most of us improvisation-based musicians begin by playing and enjoying that process, where the orchestrally-oriented player usually begins by sitting with a one-on-one teacher. My belief is that both of these modes of learning will serve the individual the most if they occur simultaneously.
That is how things happened for me, and many of the other excellent professionals that I know and have played with. There is no question that actually learning the language of music, both as it relates to my own instrument and as it relates to communicating with other musicians, has helped my professional career immensely.
As a professional side man, it has been my job to help writers and instrumentalists realize the vision that they have for their music. Most of the time this needs to be done in a short and productive time frame, while being able to have fun and stay creative. My personal understanding of the role and tools of my instrument, and my ability to speak in correct musical terms with the other players has been a huge “selling point” to my being hired so much over the past 30 years.
Berklee was one of the most amazing and influential experiences of my life. I carry the tools and concepts that I learned there in the 70s with me to this very day. One of the most intense aspects of being there was the opportunity to see and play with other talented international musicians, and share ideas and mistakes… invaluable! Being around Steve Vai, Stu Hamm, Tain Watts, Smitty Smith and so many others gave me a deep perspective on what being a “good” musician could mean.
I use the ideas, theories, concepts and values that I have internalized from my days of formal study at schools, private study at “home” (which is on-going) and my personal professional experiences to help younger musicians as much as I have the opportunity to do so… and I love seeing what the future of music holds.
TS: You have played and lived across different continents and recorded on over 145 albums. What were some of the defining moments of your journey and who were they with?
AA: More of my time has been spent in the rehearsal room than on stage or in the studio. The experimentation and learning while playing is what defines me to me. As for what defines who I am to others, I would have to guess it is what people see and hear at shows and on records… which is not the bulk of my playing. I think that this is true of any musician who remains in the learning and growing mode.
Playing Jazz on the streets of NYC in the 70s was a huge and pivotal experience for me. It took me from wanting to play consistently to simply playing consistently. Improvising in front of so many people for so many hours per day made me the type of musician that takes chances… simple.
Learning note-for-note music from bands like Return to Forever, The Mahavishnu Orchestra, Jimi Hendrix, The Rolling Stones, Bob Marley, John Coltrane and many others, gave me insight into what real chops are on my instrument… not to mention, Groove!
Meeting Mike Varney, President of Shrapnel Records, and having the opportunity to record so many great albums with such amazing musicians has had a deep effect on who I am as a musician. Being in world-class recording studios with great, creative producers like Steve Fontano and Richie Zito (to name just a couple) also helped to give me a better perspective on what and how to play well commercially while still being creative and true to myself.
Getting to play huge stages for audiences of up to 500,000 people has also changed who I am as a player and as a performer. Seeing the effect of what I am playing on such a large scale brings a lot of consistency and power to one’s professional creative process… truly learning what not to play, and why.
Watching how other very well-known, talented musicians interact and create together is also invaluable for any professional musician. The relationship between the people playing can make or break the music. That relationship also makes things move faster or slower… or not at all. Communication feeds creativity in most cases… and feeds the personal joy for what one is doing.
I can mention just a few names that come to mind who really stand out for me as people that inspired me as a player and as a person and were a joy to work with. Richie Kotzen, Jason Becker, Marty Friedman, Tony MacAlpine, Neal Schon, T.M. Stevens, Guthrie Govan, Michael Lee Firkins, Arthur Rhames… and so many more amazing creative and talented people that have helped shape who I am as a musician and as a person to this day.
TS: What kind of music do you dig and play these days? Recent collaborations?
AA: I really love playing and listening to Fusion and Modern Jazz more than other styles, but I have played more Rock, Reggae, Funk and Blues live over the years. Honestly, I love playing anything that sounds good, music is the whole point for me.
Since relocating to Europe I have played and recorded more Hard Rock, Prog Rock, Neo Classical, Metal and straight Pop than other styles. I, of course, play many other things in my personal time.
There have been many, and a wide variety of, collaborations since leaving the States 8 years ago, but at this moment I am recording CDs with Jani J. Szentkiralyi (Hunagary), If Wen (U.K.), Timo Somers (the Netherlands), The Vivaldi Metal Project (International) and a “secret” Tribute Project for Japanese release. At any given time I usually have 2 or 3 CDs being tracked if I’m not touring… I’m at 145 CDs now… and counting!
TS: You have taught at SAM earlier during its very first semester. What memories of India do you carry and what are the things you are looking forward to doing this trip, musically and otherwise?
AA: Well that first trip to India was a true high point for me in so many ways. I made many new friends that I stay in contact with to this day, and was personally exposed to the Carnatic music system and Traditional South Indian Classical Music as a whole. Working with people like Ghatam Karthick, Ed DeGenaro, Ranjit Barot, Ashish Manchanda, Amit Trivedi and Nandini Srikar while there, and then meeting other great Indian musicians later on, like Shree Sundarkumar, Sunita Sarathy and others, was such a great experience and I really look forward to more creative expression with each of them… and all the new yet “un-met” musicians there.
I am extra, super excited about getting back to the food (which is one of my very favourite kinds) and the very warm people. The vibe is gloriously positive and inspiring.
TS: We know your energy is infectious! What can students at SAM expect from Atma Anur this Fall?
AA: For sure more of the same! It’s been five years since I was at SAM and I am really looking forward to meeting the new students, the older faculty and friends. I’m also really looking forward to doing some great shows and more recordings as well.
I have been working quite a bit on my book on Poly-Rhythms and sixteenth-note understanding, so I will draw from that in my drum instruction classes for sure as well.
I look forward to sharing this wonderful gift of music and the joy that it brings… my goal is to bless as I have been blessed… and beyond.
1. How did you get to know each other, and how did you come up with the idea of working together?
ATMA: If I remember correctly, Jani contacted me on Facebook about the possibility of working on some of his (new) recordings. I had not yet met him but after listening to the things he sent me I thought it would be a cool collaboration (at this point I try to not play music that I don’t enjoy).
JANI: Well, back in 2010 I sent a demo of five songs to Mike Varney (Shrapnel Records) who replied and suggested to record the drums with Atma Anur. So I contacted Atma and sent him the songs, and from that point we started comunicating and systematically working on the songs and the musical ideas that came to us.
2. From which CDs did you know Atma before and which is your favorite one?
JANI: The first CD I heard on which Atma is drumming was Cacophony’s Speed Metal Symphony, and shortly after that Jason Becker’s Perpetual Burn. Both of these are reference CDs for me till today.
It is very hard to pick one, because Atma’s legacy is so wide after playing with so many artists. There are more than 140 CDs (Cacophony, Jason Becker, Tony MacAlpine, Greg Howe, Richie Kotzen …… to name a few) and all of them are outstanding, but for the sake of giving an answer I will pick the Cacophony and Jason Becker CDs because both of them are close to my musical taste and heart.
3. Atma, it seems that you like Hungarian musicians because you are working with two great Hungarian guitarists at the same time, with the same name. Is this a coincidence or something more?
I like working with good musicians, it’s really as simple as that. I don’t actually care much where someone is from or whatever may or may not be going on with them… other than what the music sounds like.
With that said, I will also say that I have found many great musicians (especially guitar players) in the Central and Eastern European area since leaving the States… and that’s quite cool I think. Jani and Janos are both talented cool people… so what’s not to like?
4. How do you remember your first meeting with Jani, and what were your first impressions when you heard his music?
ATMA: We first met in person at the Marty Friedman show in Budapest back in 2011, lots of good fun. Jani showed me quite a lot of Budapest and we had a chance to hang with Marty as well. I made a few other new friends there on that trip as well.
As for his music, I thought he sounded great, had a cool feel and an exciting vibe. I like playing good music, I love Progressive Rock and Fusion, and I saw an opportunity to play my style and have a good time doing it… Jani also thought that my style would fit his writing… so it was a good match.
JANI: LOL ……. there is always a smile on my face when I remember the moment I met Atma. Besides the awesome time we spent together at Marty Friedman’s gig in Budapest, and having the opportunity to hang with one of my favourite guitar players, Atma and I also started mixing our first recording, Canon Rock, and I could tell that Atma is an ENERGY BOMB (literally). He is so disciplined that he shocked me (in a positive way). In those moments I realized that I was dealing with one of the best of the best. He is the guy who used to go to sleep the last, no matter what time it was when we went to sleep…and he woke up first (a funny story I remember is that we went home from Marty’s gig very late, I went to sleep but Atma was still doing things, then I woke up in the morning to Atma was mixing his drum tracks ……. hahaha). In this short period of time we also became close friends, and this relationship is still the same till today.
5. Which are Jani’s most impressive skills? Is there anyone of your previous musical partners who is playing in a similar way to him?
ATMA: The best thing about Jani is his personality, he is simply a great person. He is quite serious about music and about life in general… I have a lot of respect for those things.
I also find Jani to be quite open minded, besides the fact that he is a talented musician.
6. You are very busy and I’m sure you get invitations all the time to take part in various musical endeavors. How do you find time to do such projects and how do you decide to take part in such sessions?
7. How do you write the songs, how can we imagine the process?
So, we dont have a specific way of working, we simply just share ideas, thoughts and so on but, I need to mention here that Atma is taking part in the composition section too. On all of the songs he is a co-writer.
8. How would you sum up the essence of the music?
JANI: I’m sure that those who like guitar music and especially the ’shred’ style will love it. I feel that sometimes it’s a bit “progressive” influenced, sometimes neo-classical but we also have slow, melancholic lines and parts.
9. How did Piero Trevisan come into the picture as a bass player?
ATMA: I met Piero when I first met Steve Saluto (Italian guitarist/composer). I worked with Piero on at least 3 recording sessions and also some live shows.
Jani and I were working with a few bass players on the recordings and I also suggested that Jani check out Piero for some possible gigs… So far everything sounds and feels great. Piero has a talent for finding the most groovy simple parts that fit the vibe very well.
10. What we need to know about the upcoming EP? Will there be a sequel, any concerts?
JANI: The EP will contain 5 songs and it looks like it will be released by a Hungarian label. Sequel? Definitely. Yes, we want to take those songs to the stage, and continue recording.
11. What other projects are you working on?
ATMA: Right now I am working on a bunch of things with some European and South American musicians, I am also trying to finish my first solo CD and am writing for my second one… there is a lot to be done still to get these finished!
I am also putting finishing touches on my Theoretical book on rhythmic understanding… I try to stay busy being creative… I want to leave as much of what God has given me to do as possible after I have had my time in this life.
JANI: Right now I’m not working in other projects. I’m doing some studio work, for example I recorded guitars on two songs for Alina Alens (Romanian pop-rock artist).
12. Which are the best three albums of all times?
ATMA: Beauty, Love, Loss… Peace, Anger, Music… Passion and Forgiveness.
To understand time and the basic human condition that we ALL share.
To make something useful of what is presented to you, and to express gratitude and joyfulness in every situation.
Life is about relationship… to one another, and to God.
JANI: Atma’s answer is so wide ….. so all I can say is that I identify myself with his answer.
ATMA ANUR INTERVIEWS, LIFE PHILOSOPHY, MUSIC, RECORDING SESSIONS, THOUGHTS ON LIFE	Alina Alens, Atma Anur, Jani J. Szentkiralyi, Shock!
The latest in-depth interview with Atma Anur about his past and most recent projects and his move to Central Europe from California. You can read the English version of the interview here.