All language subtitles for Masterclass - Sheila E. Teaches Drumming and Percussion_Full

While she leads
backing up Prince,

she also continues her
successful solo career.

The top percussionist
who has played

for Prince, George Duke,
Marvin Gaye, Herbie Hancock,

and myself, amongst others.

Just wait till you see Shelia E!

[CHEERING]

[MUSIC - SHEILA E, THE GLAMOROUS
LIFE]

Come on!

Clap your hands!

(SINGING) She wears a
long fur coat of mink,

even in the summertime.

Everybody knows from
the coy little wink.

SHELIA E: The role of music
in my house was everything.

(SINGING) She's
got big thoughts.

SHELIA E: Life, water, food.

I don't think I had a choice
other than to be a percussion

player.

(SINGING) What I think
this girl, she really wants--

SHELIA E: Through my
experience of ups and downs

has come great success,
confidence, power, beauty,

love.

(SINGING) A man's touch.

SHELIA E: And I think
the biggest gift is

knowing what your passion is.

(SINGING) Without
love, it ain't much.

SHELIA E: Because when
you know what that is,

no one and nothing
can stand in your way.

I know that I'm the
baddest drummer out.

And once I get on stage, it's my
house, nobody can mess with me.

[GIGGLES]

SHELIA E: I grew up in
Oakland, California,

I think one of the best places
to be born because of music.

My dad at the beginning saw
that I was interested in music.

And I think I was
maybe 9 years old,

he said to me, why don't
you go play violin instead

of like, playing
congas and percussion.

And I looked at
him like, violin?

Are you kidding me?

That is so corny.

My dad is the legendary Pete
Escovedo, Latin percussionist,

who is known as the
Mexican Frank Sinatra.

He's won numerous awards, and
he plays all over the world.

And he's a fantastic
timbale player

and the best-dressed
timbale player.

Growing up, there
were celebrities

coming to the house, like Tito
Puente, Carlos Santana, Eddie

Palmieri, and Mongo Santamaria.

And I just took it
in and soaked it in

and just like, wow, look at them
playing, that sounds amazing,

wow, that's incredible.

And I think that was the great
part of my parents bringing

in different genres of music.

They wanted us to
learn everything.

My dad had a band called Azteca,
and they were signed to CBS.

And they were opening for The
Temptations and Stevie Wonder

and Earth Wind Fire.

And his other percussion
player got sick,

so I said, come on, Daddy, let
me play, I know all the songs.

And he said, yeah, no, you're
15, no, you can't do it.

I said, come on, please,
I know all the songs.

No, no, no, you can't.

So I went to my mom and I said,
Moms, Daddy won't let me play.

She went and spoke with
him and I was able to play.

So I played the show--

San Francisco.

You know, you're
thinking, OK, no big deal,

I know my dad's music.

However, this is now an
18-piece band with adults

that the musicianship, the
level was like, way up here.

And I had to rise
to the occasion.

I didn't realize like, how
intense it was going to be.

So we started playing, and
next thing I know my dad

turned to me and he looked--

I was on this side,
he looked and he said,

I want you to take a solo.

He's playing and he's
like, go take a solo.

I'm like, a solo?

OK.

All of a sudden, I didn't
even know where I was.

My eyes were closed, and
I just went into a place

that I had never
ever experienced.

[DRUMMING]

I saw myself leave
my body, and I

was watching myself
play with my dad's band

and watching the crowd.

All of a sudden, I hear
the roar of the audience

and I started to open my eyes.

And I'm playing, and I just
went like, what the heck?

Where did I go?

And I just went,
[TRILLS TONGUE] and I just

played faster and faster
and just went into it.

And I was shaking--

I just started shaking.

My whole body was shaking.

And I looked at my
dad and I just--

I was like, I don't
know what happened.

And they're still
playing, ba-da-da!

So we went backstage
and I hugged him.

I was like, Daddy,
this is what I want

to do for the rest of my life!

Oh, my god!

I want to go out
on tour with you.

This is it, I know this is it.

This is what I want to do!

I want to play
percussion with you.

And he's like, no, no,
no, are you kidding me?

And that one moment
changed my life.

[DRUMMING]

Give it up for Sheila E!

SHELIA E: I'm honored to
share just a little bit of me

with you to inspire
you to be your best.

In this MasterClass, I'm
going to do percussion

and drumming, how to play
beats and make loops,

and how to perform with a band.

And also, I'd like to introduce
you to the Escovedo family.

Even if you don't choose
this as your career,

pick up an instrument,
do something and play,

and enjoy yourself
and make it fun.

If you want to be
a drummer like me,

a percussion player like me,
maybe singer, drummer, dancer,

percussion player, drummer
like me, this Masterclass

is for you.

I'm Sheila E, and this
is my MasterClass.

Rhythm is something
that everyone has,

whether you're
aware of it or not.

[HEARTBEAT]

When you listen to your
heartbeat, it has a rhythm.

That is rhythm it's a timing.

It's a swag.

It's something.

It's a rhythm.

And everyone has rhythm.

Rhythm is a movement.

And you can do it with
your hands, on your lap,

on the table.

Just practice to a metronome.

[CLAPS RHYTHM]

And you learn about rhythm.

You try it.

Ready?

1, 2, 3, go.

[CLAPS RHYTHM]

Excellent.

You want to change rhythms?

You can go--

[CLAPS RHYTHM]

Then pace, just keep straight.

Let's try it with music.

And I think that we
should do it with one

of your favorite songs.

Well, it's one of my
favorites, "Glamorous Life."

Let's try it.

Here we go.

[MUSIC - SHEILA E, "THE
GLAMOROUS LIFE"]

You hear the tempo?

[CLAPS RHYTHM]

Here we go, 2, 3, uh.

[CLAPS RHYTHM]

(SINGING) She wears a long fur
coat of mink even in the summer

time--

And so, for some of you
who can't play that fast,

do halftime.

Just--

[CLAPS RHYTHM]

Just like this.

(SINGING) The girl's
got a lot on her mind.

She's got big thoughts--

And for some of you
who can't do that,

what if you walked
in place like this?

Same thing.

(SINGING) What I think this
girl, she really wants--

See?

It's a rhythm.

That is your rhythm.

(SINGING) She wants to lead--

Then-- no, I'm just kidding.

[LAUGHS] Here we go,
like this, right?

(SINGING) --a man's touch.

She wants to lead
the glamorous life.

Without love--

It ain't much.

Here we go.

Just keep walking it out.

It's like exercise.

Keep practicing.

Double time like this.

(SINGING) She saw him standing
in the section marked--

There you go.

Good job.

[SHAKER]

[DRUMMING ON PAN]

Here's how you learn a
little bit more about rhythm.

And if you can't afford or
don't have drums or percussion

at your house,
it's not a problem

because right here, we
have a bunch of items

right from your house, pots,
pans, a little bit of food,

water bottles, some drills.

Growing up, when I was younger,
I started on pots and pans

because my dad's drums
were a little bit too high,

a little bit too big for me.

So I did.

I started out with
these pots and pans.

I feel that I can take
anything and make it music.

I have used these
items on many albums.

I'm not going to
tell you which ones.

You'd have to figure it out.

Everyone has keys in the house.

You put them together,
make a shaker.

[SHAKES RHYTHMICALLY]

Just take your old keys.

It works wonderfully.

These are my
favorite right here.

Say hello to my little
two friends, OK?

[LAUGHS] Listen.

[RUNS DRILLS IN RHYTHM]

I love that.

It's amazing.

Also, we have two
bottles over here.

After you have a little
drink, pour some water.

Mm-hmm.

Like that.

Well--

[BLOWS]

One more.

Mm-hmm.

[ALTERNATES SINGING A NOTE AND
BLOWING INTO BOTTLE]

Look, an instrument.

[ALTERNATES SINGING A NOTE AND
BLOWING INTO BOTTLE]

Amazing.

It's so much fun.

[RHYTHMIC NOTE]

To take this to the
next level, let's create

a loop, which is simply a
repeated section of music.

We will record an
eight-bar section

and create additional
sounds by layering them

on separate audio tracks.

[PERCUSSION MUSIC]

At home, you can build a loop
by using a basic recording

app on your phone
or computer, adding

multiple layers of sound
with whatever household items

you have, transforming
them into music.

I'm going to demonstrate
right now how we do this.

Take your water
bottle right here.

We're going to play a click.

So I can play in time.

Be conscious of time.

Here we go.

[METRONOME CLICKS]

[PLAYS RHYTHM]

This, to me, is
more like hitting

a kick drum, the low
end, the bottom of what

I'm going to create.

So I use this because
it has a low sound.

So let's add something
on top of that,

but let's make it first
because I might want a shaker.

Well, I don't have a shaker.

Let's make one.

At home, you have rice, beans.

Rice is going to sound
a little bit lighter.

Beans are going
to sound heavier.

And you can mix the two.

So we take some rice.

All right?

Maybe a little bit of
beans, just because.

Rice and beans go
together in my house.

I hope it does in yours too.

All right, got a shaker.

All right?

Let's play back.

[METRONOME CLICKS]

[SHAKES RICE JAR IN RHYTHM]

That was our shaker added
to the water bottle.

Let's go for a sound a
little more metallic,

which would be the pots and pans
we would use as a gogo bells.

[METRONOME CLICKS]

[PLAYS RHYTHM]

Next part, let's try the drills.

All right, here we go.

[LAUGHS]

[METRONOME CLICKS]

[RUNS DRILLS IN RHYTHM]

There you go.

Let's try a cleaner.

[METRONOME CLICKS]

[SPRAYS CLEANER]

[PERCUSSION TRACK PLAYS]

[SPRAYS CLEANER RHYTHMICALLY]

OK.

Now, let's try keys, OK?

This will be a little bit
different than the shaker.

It'll be shaker, but more
metallic, metal sounding.

And by the way, when you are
recording, or playing to loops,

or making your own loops,
or playing to music,

you know, on your
phone in your house,

the point is to have fun.

And I love dancing and playing,
so if you start moving,

that's a natural thing
is to move when you play.

It feels good.

So don't be afraid to move.

It actually makes
you sound better.

[PERCUSSION TRACK PLAYS]

[SHAKES KEYS]

So what you do with this water
bottle, you pour water in it.

[BLOWS ON BOTTLE]

Try to make a sound.

[BLOWS ON BOTTLE]

You make a note, and then you
blow in the sound. (SINGS) Hoo.

[BLOWS]

Hoo.

[BLOWS]

Hoo.

[BLOWS]

Hoo.

[BLOWS]

The more water you put
in, the higher the pitch.

The less water, the
lower the pitch.

Hoo.

[BLOWS]

But I'm going to keep it at
this pitch for this loop.

[METRONOME CLICKS]

[PERCUSSION TRACK PLAYS]

[ALTERNATES SINGING A NOTE AND
BLOWING INTO BOTTLE]

Very last thing--

I did this on one of my records.

I had a snare drum that I
needed more punch, more bite.

[LAUGHS] More bite, yeah.

I actually took an apple.

I bit the apple, and sampled it,
and put it on top of my snare.

Sampling means I took this.

I played it back so that
every time my snare played,

it sounded like this on top.

Chh.

Chh.

[BITES APPLE]

Now, that we put
this all together,

let's play it back and
see what we've created.

[PERCUSSION TRACK PLAYS]

Now, if that doesn't make you
dance, I don't know what will.

That was amazing, right?

Didn't you have fun doing that?

I did.

So go ahead and create at home.

Pick up your items.

Do whatever you need to do.

Have fun.

Dance.

Laugh.

Live your life.

SHEILA E: Drummers are
the drivers of the band.

We're the time keepers,
the foundation.

I'm super excited to
teach you how to play

this powerful instrument.

Grab your sticks and
let's get started.

If you only have a
pair of drumsticks

and you don't have a drum set,
what I'd like for you to do

is just practice on a
pillow, a chair, your couch.

The floor is very
cool, on a rug even.

And all you do is do
single strokes like this.

And then just try to
do faster and faster

but be consistent so that
they both sound the same.

The way you hold the
stick, again everyone

is a little bit different.

Sometimes people hold it too
close in the middle, which

is going to feel weird.

The balance is wrong.

You can't get the power.

It doesn't feel right.

If you can, hold the
stick further back,

where the butt of
the end of the stick

is, so that you
can play like this.

It feels better.

It feels more natural.

If you move it up here, it's
harder to control the stick.

You're supposed to play this
way and use your wrist so

that you don't hurt yourself.

If you're wanting to
practice like this, more

like a snare drum, you
can do this as well

and play like this.

It's almost like
using chopsticks,

a little bit different.

The pieces of the
drum set, high hat.

Right here, it's a pedal that
opens and closes two cymbals

together.

This is a pedal, the second
one here, is a kick drum pedal.

I actually play two
of them together.

And most drummers play with
this pedal on the inside.

But I play it on the outside
because I like to sit straight.

Snare drum.

This is the snare drum.

This is tom 1.

This is tom 2.

This is tom 3.

These are cymbals.

And they're different sizes.

And you can pick
whatever you want.

Right now I have a 17 and an 18.

And this is a ride cymbal.

This is a 20 inch ride cymbal.

This is we call a
splash or China pang.

And it looks like
it's upside down.

And it is, because that's
the way it's supposed to be.

But you don't have
to play it like that.

I have a cowbell here.

And it's mounted
to the kick drum.

And this is what I use a
lot in most of my shows.

And that's it.

If

You saved up your money and
you want to buy a drum set,

there are many ways of
putting together your kit.

You can buy one that
comes together like this.

You can choose different sizes.

This is a 8, a 10,
and a 16 or 18.

They're different sizes,
meaning different tones.

The smaller ones are
going to be higher pitch.

The lower ones,
bigger and lower.

So you can choose and
pick this kick drum

as a 20 inch kick drum.

But they have smaller
ones that are 18.

Or you can go to a 22.

Sizes are different.

It just depends on what
you're looking for.

I sometimes add different
percussion instruments

as part of the drums as well.

Just get the simple
things, really.

If you're going to start
playing, start with high hat,

kick, and snare.

Because that's the
most important thing.

That is the
foundation of playing

the drums is to learn
how to play the high hat,

kick, and snare.

And just practice
time every single day.

You have to practice.

That means warming up, you
know, 20 minutes, a half an hour

before you play or record
or go jam or whatever.

And it's just really
just loosening up.

Every single day, try a
chair, a pillow, couch.

And you just start warming up.

Just loosen up your limbs.

I want to show you
three basic rudiments

but I call them warm ups.

And it would be singles,
doubles, and paradiddles.

Singles.

Doubles, which is
two on each hand.

But start slow and make sure
that they both sound the same.

And also that it looks the same.

Because it's normal
that one hand,

one arm is going to be
weaker than the other.

So you have to
strengthen them both.

And do that to a click
track, a metronome, whatever

you want to do, even to songs.

If there's a song
playing, [HUMS]

Single.

Single.

Dat, dat, dat, dat, dat, dat.

Double, double, two on each.

And you just practice the songs.

And you keep doing that.

My thing is I'll do doubles
until my hands sound the same,

till each hand sounds the same.

And it usually takes
my left hand longer.

It takes longer for my left hand
to warm up than my right hand.

And once I do that and
it starts to loosen up,

I can tell, like within
five to 10 minutes,

how much it has loosened up.

And it just feels natural
without me trying to do this

because I'm not warmed up.

It's really important
as well to stretch.

You have to stretch.

Stretch your arms
doing this, pulling

this to make sure that
everything is kind of loose.

There's different
exercises that you can do.

I mean, I actually
get on the floor

and do some of my
stretches that I

would do when I used to
run track, all the sprints,

stretching my legs, and
my back, and whatever

I can do to loosen up so
that when I go on stage,

it's not foreign to me.

I'm not going on stage
and everything is cold.

Everything is warmed up by then.

Some of you might
know paradiddles

and right, left, right, right,
left, right, left, left.

Paradiddle.

Paradiddle.

But let's do it like this.

If you say, I can do it.

I can do it.

I can do it.

I can do it.

Or if you want to say it
like this, right can do it,

left can do it, right can
do it, left can do it.

Practicing singles,
doubles, and paradiddles

will help you to discipline your
rhythms, learning, consistency,

learning what your left hand
and right hand should do evenly,

which is really important.

And it'll allow you to create.

SHEILA E: In this
lesson, I'm going

to show you some other
drumming techniques that

are a little more challenging.

These include some of my
favorite rhythms, funk

and Latin.

[CHEERING AND APPLAUSE]

A basic beat would be 2 and 4.

So if you were counting 1, 2,
3, 4, 1, 2, 3, 4, 1, 2, 3, 4, 1,

2, 3, 4.

So what I'm doing--
start with the hi-hat.

1, 2, 3, 4, 1, 2, 3, 4.

Right?

And the snare is on the 2--

1, 2-- and then the 4--

3, 4, 1, 2, 3, 4.

Kick drum on the 1.

1, 2, 3, 4.

So 1 and the 3.

1, 2, 3, 4, 1, 2,
3, 4, 1, 2, 3, 4.

So that drum beat, that
very simple basic drum beat,

2 and 4-- that's what
we call it, 2 and 4--

plays and being played
on a lot of songs.

It's great for just
keeping time for a band.

And I'll show you,
when you really dig in,

this is what it sounds like.

And you just count 1,
2, 3, 4, 1, 2, 3, 4.

That beat you can play
forever with anyone,

even if it's faster.

1, 2, 3, 4.

That's 2 and 4, same thing.

You can add the hi-hat to do--

instead of like this--

2, 3, 4, 1, 2, 3, 4, 5, 7,
8, 1, 2, 3, 4, 5, 6, 7, 8.

I dare you, I dare you to
play that beat, 2 and 4.

Just play it for like
five minutes straight.

Don't play-- don't
touch anything.

If you have a drum set,
don't touch anything else.

This doesn't matter right now.

The basic is to keep time.

Have a click track or your
metronome on your phone,

and just practice that 2 and
4 where it sounds so amazing.

It sounds even.

It sounds smooth.

It's clean.

It's consistent.

That 2 and 4 is like,
you know, a funk beat.

Some funk beats can be a
little more complicated.

Well, for one thing,
we did 2 or 4,

and you can do 4 on the floor.

Like, disco music was 4
on the floor, like this--

1, 2, 3, 4, 1, 2.

Right?

And that's just 4 on the floor.

1, 2, 3, 4.

You know?

That's dance music.

Funk music, it's
hard to kind of play

a funk beat because
funk has to do

with syncopated rhythms,
everyone playing

in and out of syncopation.

Syncopation means that instead
of just emphasizing downbeats

on your pattern--

1, 2, 3, 4--

you add emphasis
on the offbeats.

1 and 2 and 3 and 4 and.

And it's still all in time.

It's not a different
time signature.

It's all just 1, 2,
3, 4, 1, 2, 3, 4.

1, 2, 3, 4, 1, 2, 3,
4, 1, 2, 3, 4, 1, 2.

It's still in time,
but it makes it funky.

Now, that's one
type of funkiness,

like Tower of Power funky.

The other part is just playing
funky means like the 2 and 4.

And it depends on what the
other players are playing.

If you just play that
straight, the funkiness

comes from not
playing anything else.

It's the air and the space in
which no one plays makes it

funky.

So if everybody's
playing on that 2 and 4,

the space that's not
being played is funky.

That's another definition
of funkness, I should say.

[DRUMMING]

There's some different
types of Latin beats,

and I should say Latin,
Brazilian, African,

like a samba.

And I don't play a
traditional samba, by the way.

A samba you play--

right, a double kick.

But again, when I
first started playing,

I didn't know how to do this.

So I used a low tom to kind of--

it sounded like
I was playing it.

Right, instead of--
so it sounded like--

And that's my
version of a samba,

but it's not like totally
correct technically.

But it has a nice feel,
and it sounds the same.

But again, this is a
walking situation here.

Everything that you do when
you first start playing

is just like walking,
just like this.

1, 2, 3, 4, 1, 2, 3, 4.

Samba is faster.

1, 2, 3, 4, 1, 2, 3, 4.

Same thing, I'm still walking.

You want to run--

I'm running.

And if you want to
run with two pedals--

or you run fast--

you can do that.

[DRUMMING]

Like I started
with the 2 and 4--

it's a movement, 2 and 4, right?

1, 2, 3, 4, 1, 2.

Basic beat.

And a samba.

Same walk, just a different
pattern on the drums.

And that pattern would be this--

right?

It's just this.

But what the difference
is is where I'm accenting.

I'm still doing this regardless.

And my hands are
going back and forth,

just single-- left, right,
left, right, left, right, right?

And that's all I'm doing,
but it's how I'm accenting.

I'm not changing
the rhythm at all.

It's basically how
I'm going to accent.

So if you go--

right?

So-- it's still all--

but you're accenting--
some soft, some loud.

So you start walking
and accenting.

And you can just
start on the snare.

Then you add a tom.

Add a second tom.

Now you try it, and I'm
going to keep time for you.

1, 2, 3, uh.

Come on.

Come on.

OK, I heard you say
it was too fast.

Let me try a little bit slower.

1, 2, 3, uh.

There you go.

Keep walking.

Keep playing.

Now speed up a little bit.

There you go.

Good job.

[DRUMMING]

We, as drummers,
are the timekeeper.

And that's really important.

So say, for instance, we're
playing a beat, right,

and all of a sudden
you decide to speed up

because you got excited.

So you kind of lose control,
and you start speeding up.

The band's going to follow you.

That means they're all going
to speed up because you

started speeding up.

If you start to slow
down, and you're playing,

and you start to slow
down, not even realizing

that you're slowing
down, the band's

going to slow down with you
because they're following you.

So it's really important in
playing to a click track,

to a metronome.

And practice different
speeds, beats per minute, BPM,

beats per minute.

That means, you know,
maybe 60 beats a minute.

And just keep playing like
for 5, 10 minutes the same

beat over and over.

And just practice being
consistent and trying

to hit every single beat.

[DRUMMING]

What if I said I want
to play something Latin?

My drummer, this chair has
to be able to go there.

Now, not all bands
are like this,

where they're going to call
different genres of music.

But in my band, I
want you to play.

So what if I say play something
Latin, and if you play time,

I want to take a solo on
top of what you're playing?

They would play
something like this.

Just a little Latin
beat, but they

have to be able to play that.

So you want to be
very versatile.

You want to be open
about listening

to different genres of music
and practicing, not unless you

don't want to do it.

You just want to play rock
and roll, and big hair,

and big cymbals,
you can do that.

That's fun too, because I always
wanted to be the rock and roll

drummer in a band.

I really did.

And so now I get to do that.

All right, so I'd
like to introduce

to you some members of my band.

On guitar, my godson,
Mychael Gabriel.

[LAUGHS] Yes.

On bass, Raymond
Deacon McKinley.

Mm.

And on keyboards,
Bertron Curtis.

[LAUGHS]

I like drummers
that don't overplay.

I respect drummers with
discipline and pocket.

My drummer Wes McVicker
is one of those guys.

Playing in the pocket means
that we're playing together.

It's so tight that
you would think

that it was a drum machine,
like everything was so precise.

And it's a feel.

It's like we're all feeling
the same thing together.

It's a movement.

And it's something
that is an experience.

It's not like we're
playing, yeah, we're

reading these notes,
we're playing this.

This feels good.

You're thinking, again,
it's in your heart.

It's like-- it's a movement.

We're all walking the same way.

And when you get into that place
where musically you just flow

effortlessly, it's amazing.

It's a beautiful place to be and
feel because then you're just--

like everyone's
in the same place.

And you just go, oh my god.

It can't get any
better than this.

Dynamics means
volume and how loud

and how soft the
music is being played.

You break it down.

It gets softer, and
softer, and softer,

where musically we all
go to the same place.

You can't break it down.

One person breaks it down, and
the guitar still playing loud,

it doesn't match.

We all have to do it together.

So if I go into a beat
and then break it down,

you'll see the difference
in what that is.

That is so funky right there.

I can't stand myself.

Play it.

[LAUGHS] Whoo.

But it's ridiculous
because I'm able to talk.

This is when we break
it down, and you

might want to introduce
someone, might want to go get

some water.

I don't know.

But this is just like dynamical.

Then you want to go--

bring it up.

You want the song
to move dynamically,

so in breaking it
down for the verse

so that you can hear
what's happening

by the time you move it
up to the chorus, which

is the highlight of the song.

And it's something, most of the
time, that you can hum or sing.

When you get to that part,
it's usually the time

that the whole band plays
a little bit louder.

There are some songs that we
don't break down the verse.

But when, you know, sometimes
I'm in the front calling cues

or whatever, the
band follows me.

I just call cues, and
I'll just do this.

They know on the next turnaround
just to break it down or break

it down right here.

As soon as I give the cue,
that means break it down.

And we'll go right
to that place.

Now we want to illustrate the
all-important relationship

between drums and bass,
which is the backbone of most

popular music.

So if we were playing
the beat 2 and 4--

1, 2, 3, 4, 1, 2, 3, 4.

I made it a little bit simpler.

And once he started
hearing that beat,

he started playing something.

And it's just creating.

It's-- you know, we don't
know what we're going to play.

So say, for instance,
we're going to play a song,

we would just call what key
it is sometimes or maybe not.

And if I feel something
that I'd like to play,

he follows along
to, again, something

that feels right for him and
then complements the drums.

When it's time for
you to take a solo,

it's because that section of
the song allows you to do so,

or it was arranged or set
up for you to take a solo.

Improv, you're kind of
playing and creating.

It's not really a solo.

You're adding different
elements here and there,

a tom here, a fill here, you
know, playing a different beat.

That's creating improvising.

But a solo is a
section that is set up.

Everyone's going to know,
here comes the drum solo.

Then it's all about you.

There are a lot of drummers
that are fantastic,

fantastic soloists,
amazing soloists.

They can't play a beat
in time to save them.

Soloing is a gift.

It really is a gift.

Not everyone can do it.

And it's OK that you can't.

Not everyone can solo.

But I'm telling you, if you
want to learn how to solo, it's

a gradual thing.

It's you finding your voice.

And that's the fun part about
it is just going for it,

not to be afraid, not to live
in, ah, I'm not really sure,

and be timid about it.

If you're going
to make a mistake,

make a mistake big and loud.

And then do it again, because
then it's not a mistake.

Sometimes we all tend to
solo and give you everything

we have in two seconds.

It's like-- and then there's
still time for you to play,

but you've burned yourself out
at the beginning of the solo.

A good solo is supposed to
gradually happen and build.

So you start slow in
your solo, and you build.

You get more complicated,
nicer, cooler stuff to play.

And by the end, it
should just be big.

[DRUMMING]

A fill is a set up
to the transition.

It's like 1, 2,
3, the verse, uh.

Instead of saying 1,
2, 3, I would play--

You kind of always do something
that everyone knows, hey,

something's getting
ready to happen.

Here's the verse.

Here's the chorus.

Here's a bridge.

So the intro of "Love
Bizarre," if I play it,

we play it together, I didn't
do a lot of fills in that song,

but this is one in the intro.

So it's like counting
something out

to let people know something
is getting ready to happen.

If you want to practice
fills at home, do it slow.

Start slow.

And a fill, you can
practice like what I did on

"Love Bizarre," the intro.

You can do that.

But every time you do something,
make sure it's in time.

Like if you do something--

if this is the time, do a fill.

Just make sure in
time with the click.

And just experiment
on different feelings

and how you feel to set
up the next section.

When you set up your
fills in practicing,

take like-- sometimes you don't
know what four bars might be,

but it's 1, 2, 3, 4.

Wait four bars before
you do the next fill.

Don't just rush in
to fill, fill, fill,

because then it's going to
start sounding like a solo.

So you really want to
think about, you know--

You can do it like that,
or you can make more space.

Fills are complementing
what is happening.

It is your voice.

It's communicating, where
would you like to speak?

So it's placement.

You have to find what
that really means.

Don't just do a fill
in the middle of when

someone else is making a point.

So it's a give and a take.

You really have
to pay attention.

And it's a conversation
that needs to happen.

It's a back and forth.

But fills are not something
that you do all the time.

Sometimes, like
"Love Bizarre," there

might be one or two
fills in that song,

and that's it because
that's all that song needs.

You just have to be creative
and feel out what really

makes sense for the song.

[DRUMMING]

I think it's important
to know when not to play.

As I've said,
sometimes you have all

of this equipment around you.

Does it mean that I have to
play every single thing that

is here?

If I just keep time for
longer than four bars

playing the same thing, I have
to drill it into your head to

just--

just stay right
there, and just play.

It creates this
movement, even for them,

just playing in the same
place, the same groove,

the same pocket.

It all of a sudden
grows on its own.

When I was playing
with Marvin Gaye,

that's when I learned
early on when not to play.

One of the beats that
I learned on the congas

was that beat in
"What's Going On."

And I'm playing that
beat, and I'm thinking,

oh my god, I'm in
this 26-piece band.

And we're all playing together.

And it was me, my
brother, and a friend.

And we had three
sets of everything,

so that's a lot of gear.

So you're playing,
and you're like,

man, we're playing
with this artist

that we grew up listening to.

Like, this is really happening.

And I'm playing that beat.

And then we started dancing.

And, you know, automatically
we go into this thing.

And it's like, oh,
everyone starts doing it.

So we start dancing,
and we're playing.

And it felt good.

And I'm just playing exactly
what I know, that beat.

But I ended up hitting
another drum as I played.

And I hit that other drum.

And Marvin Gaye's a
very soft-spoken guy.

And, you know, I'd never
heard him yell or anything.

I didn't even know
him that well.

His back was to us.

And he just said, hold on.

Stop.

And everyone-- all you hear--

like, what the heck
happened, you know?

And they're like, what?

And he turns around.

His back was to us.

He turns around.

And he said, someone
played an extra beat.

And I was frightened.

Like, you could hear
my heart beating.

And I'm going, oh
my god, I'm fired.

I didn't even-- oh,
this is horrible.

So I raised my hand, and
I said, sorry, Mr. Gaye.

My brother won't
ever do that again.

I blamed it on my brother
because he owed me

because I got him the gig.

So my brother raised his hand
and said, yeah, I'm sorry, sir.

I'll never do it
again, you know.

And I just thought,
wow, play exactly what's

supposed to be played,
and don't play.

It doesn't mean because we
had a roomful of equipment,

nice stuff, doesn't mean that
you have to play everything.

Just play what is
needed for the song.

And that is discipline.

And I say again, discipline
is very hard to do for people.

[CHEERING]

You want me to play some more?

[CHEERING]

[DRUMMING]

I think that it's important
to try to do something

different every time.

However, that rule
doesn't always apply.

There are songs that
we've heard over the years

that you go to see the artists--

and it might not be the drums.

It could be a guitar
solo or a keyboard solo.

The guitar solo on
a song, you want

to hear that same guitar solo.

And they didn't
play it, and you're

like, that's not the
solo to the song.

Prince, the same
thing-- he would almost

play "Purple Rain" the
same way, but then he

wouldn't because then he wants
to take it somewhere else,

to another level.

I think playing something
and being creative, and open,

and improvising, you want
it to change a little bit.

I mean, you might want to stick
to some part of the foundation

of your solo to get to the next
level, but I love to improv.

So now I'd like to demo what
I would play on a Latin rhythm

montuno.

Montuno is what the
piano's playing.

And I'll just solo as
we play this rhythm.

All right.

That was an attempt
to play a solo.

It wasn't quite what
I wanted, honestly,

because this, again, goes back
to warm up before you play.

I didn't warm up before
I played, so I was cold.

So I was struggling trying
to find where the one was.

So if I actually tried
to do this again,

I would warm up 15, 20 minutes.

I'd feel loose.

It'd feel better and then
would just be amazing.

[ALL SINGING]

Then double time pop solo.

Oh, so it'd be like third
verse would be a solo.

Yep.

SHEILA E (VOICEOVER): I
love being a bandleader.

But it's not easy.

One of the biggest
challenges is making

sure everyone is
prepared for the show.

Is Damien on that side?

He's on this side.

Damien!

SHEILA E (VOICEOVER):
Communication is the key.

And if you don't
practice together,

you're not going to get it.

I need snare and--

Even though they do
their homework at home,

the time that we get together is
most of time doing soundcheck.

And we're like, OK, let's
kind of talk it out.

Now let's play it.

Let's attack it
as if we know it.

And then we start arranging
it or changing some things

or some sounds here and
there to make it work.

But we're only able to do
that in a short amount of time

at soundcheck because
they've done their homework.

So we can come in and say,
let's change the first five

songs of the show tonight.

Well, I want to change five
or six songs, yeah, OK,

we got to do this at soundcheck.

Well, you only have
an hour and 15 minutes

to change five songs.

All right.

Well, we'll do it.

And we're forcing ourselves
to be ready and be prepared

so that that night,
we've changed

the whole intro of the show.

I love to create while we're
on stage right in front of you.

What you want to do
to bond with your band

is be honest and
truthful, respectful,

as if they're family even
if you just met them.

It's a relationship.

It's fellowship.

There are other artists that
we know that really don't even

communicate with their bands,
they don't hang out with them,

they don't stay
in the same hotel.

They don't eat together.

All of those things do not
apply to this band, to my band.

We eat together.

We have fun.

We hang out.

That bond is important
because if we have that

off stage, when we
get to stage you're

going to feel the same love.

I don't want to be different
than what we are onstage,

offstage.

It has to be the same.

It has to apply both ways.

Now at one point I was
different offstage than onstage.

And I didn't like that person.

He was there.

I didn't like that person.

It was hard.

I mean, Raymond can speak on
how difficult and challenging

it was for these
12 hour rehearsals

to gel so that we can,
onstage, be a family.

Go ahead.

Don't lie.

Well, this was for
the album "Sex Symbol."

And we were rehearsing
for the "Sex Symbol"

to do some promo dates
for that particular album.

And I think there were two
songs that we were mainly

rehearsing for TV shows
and some promo radio shows.

But those two songs were
like, we were rehearsing

for an eight month tour.

But when we look
back at the TV shows

and how tight everything was,
from that point on, I was like,

it has to be at this level, at
this standard, all the time.

It's a boot camp.

But at the end of the day,
at the end of boot camp,

you're a better musician,
you're a better person.

And you can take that and put
it in any other band situation

and you will be able to
stand on the foundation,

and say, OK, you're on
time, you do your homework,

you play your part, you
respect everyone in the band,

and you'll get a callback.

So are we going to the
F or 2D, depends on

if he's going to keep playing.

SHEILA E: Yeah.

I want you to keep playing.

[PLAYS BASS]

Your count.

Sorry.

[PLAYS KEYBOARD]

Put that--

Sorry.

Same changes?

OK.

[SINGS RHYTHM]

Oh, take it fours?

Yeah.

[PLAYS LATIN TUNE]

Got it.

Uh.

Yeah, but keep playing.

[HUMS]

And then play [HUMS].

Let him just play through
so the time's still staying.

No, just him.

And play the change.

Then him.

Oh, you know what?

But you don't have your--
you stay [HUMS] Yeah.

Don't play the change.

Stay in that place so
it's like a solo section.

[HUMS TUNE]

[PLAYS LATIN TUNE]

That sounds better.

Then play that bump,
bump, then bump, bump.

Yeah, and there's a ding--

there it is.

[PLAYS LATIN TUNE]

There it is.

OK.

We got it.

Here we go.

[SIGH]

SHEILA ESCOVEDO: Musicians,
we're like athletes.

Think about the things
that they have to do,

strengthening their
muscles, the training,

practicing over and over
and over again to be better.

I think it's really
important to run,

to exercise, and do as much as
you can, drink a lot of water.

Eat well is very
important, because there

are a lot of foods that
kind of make you sick

and you don't even realize it.

And it slows your playing down.

It's really prevention
and also the recovery.

Later, when you get older,
the recovery takes longer.

So you really want to
be aware of what you eat

and what you drink.

Make sure you drink
tons of water.

And you gotta get rest.

I know these are
simple little things.

Definitely, it's
like back in the day,

I would stay up all night.

Who cared if I drank
a glass of water.

But now, I'm drinking a
gallon of water a day or more

than that.

And I'm eating better,
because recovery is harder.

And when I get tired, and
I'm injured, you know,

the recovery has to be faster.

So you've got to
train your body.

Whether we're doing
soundcheck or rehearsal,

it's important to play full
out so that you're training

yourself to be ready for stage.

Say, for instance,
you're not training,

you're not playing
hard and full out,

then when you get to the
stage, you're not prepared.

Because now you're winded.

You're not ready to
move from here to there.

You're kind of not really--

now you're thinking.

And I don't want anyone to
really think about what they're

playing when we get to stage.

I want you to play
from your heart.

That allows you the
freedom to create.

We're not thinking about
what we have to play.

We're just playing it,
because it feels good.

We already know the parts.

We've done the homework.

Now that allows you to create
and come up with other stuff,

because we've done the homework.

I feel that if I'm
going to give you 150%,

I'm expecting him and him
and him and the singers--

I'm expecting everyone to
give the same level of 150%

that I'm giving.

I don't expect anything less.

They know that and
understand that.

So as a team, if they're
not rising to that occasion,

then they shouldn't
be in the band.

When I first started
playing drums,

because I wanted to be
a rock and roll drummer,

I had cymbals way up here.

I had about eight or 10 cymbals.

And they were up here.

This cymbal right
here was behind me.

So I would play like this.

And I had about
eight or 10 toms.

So the kit-- this
drum kit was huge.

So I wanted to play like this.

And I wanted to be big.

And so I was coming way
back here and playing.

And everything was like this.

And then I tore this
muscle right here,

rotator cuff was
like not working.

And then, playing so hard
and turning the wrong way,

both of these thumbs were
in a semi, little cast.

Early on, in my years, I
played in heels all the time.

And when my feet were up like
this, at an angle with my heels

on, it shorted my calf muscle.

And then my back gave out.

And so I started changing
the way that I played.

I started lowering my cymbals.

I started putting the
drums in front of me

so that I didn't
have to reach so far.

Now I need to sit
straight as opposed

to being all over
the place and have

more control of my playing.

So it is important
to adjust your drums

so that you feel
comfortable, and you

don't have to reach so far.

You know, because
later on, you're

going to hurt yourself as
I have a kazillion times

and learned from my mistakes.

And as you see right here, this,
is called a five piece, 1, 2,

3, 4, 5 is the kick drum.

When drummers talk
about a five piece,

we don't include
hi-hat or cymbals,

because they're not drums.

And this five piece is all
I really need right now.

And it's set up
very close and tight

so that I don't have to move
around a lot and twist my back

or, you know, you want to
be able to just do things

right here, very close, because
it'll save you from injury.

Some people play their snare
drum flat, some tilted.

I think trial and error,
again, is how tall you are

or how short you are.

There are some people
that sit really low.

And when they sit low and
your knee is above your hip,

it's going to mess
with your back.

And I think you'll
have more back pain.

So again, for me, this
is more comfortable.

And I've been able to save
my back, my arms, my wrists,

my fingers from less injury
by pushing everything in.

[PERCUSSION PLAYING]

When I warm up before each show,
I'm playing some soft music

sometimes.

It depends on what mood I'm in.

But I'll warm up on the
pillow or on the couch.

And I just want to be alone.

I want to be quiet.

I want to get into the,
as they call, the zone.

I just want to be in a place
of let me clear my head.

I'm ready to do the show.

I'm getting excited.

There's 15 minutes left.

And you got to get it together.

And I like to just stay
in that place of just,

this is going to be exciting.

We're going to play
for new people.

And we're going to
have a great time.

And we're going to
change people's lives.

And right after I come out
of my dressing room, then

the whole band, we all
get together, we pray.

Amen.

When we go out on stage,
the band goes out before me.

And I stand on the side.

And even though
we just prayed, I

stand there sometimes
with my eyes closed.

And I just go, thank you, Jesus.

Thank you, God.

This is going to be
such an amazing time.

And I'm so grateful for the
gift that you've given me.

That is my ritual.

[MUSIC - SHEILA E, "A LOVE
BIZARRE"]

That's what we are.

We all want a love bizarre.

That's what we are.

We all want a love bizarre.

The moon up above, it
shines down upon your skin.

SHEILA E: Back in
the day, Prince and I

wrote the song "A Love Bizarre".

Now, I'm going to play it with
my band, to bring together

all the techniques and the
skills you've just learned.

As we demo this song,
I want you to listen

to the different
places and where I

play hi-hat because of a verse.

I play the ride cymbal
because of a chorus.

I break it back down.

Just listen.

Tune in to when I'm playing.

One, two, one,
two, three, four.

[MUSIC - SHEILA E, "A LOVE
BIZARRE"]

This song required me
to play very straight,

so four on the floor, which
means, one, two, three,

four, right?

And just keep that going,
adding the snare and the hi-hat.

I don't even think I
hit the toms at all.

I don't even think I touched
them because it didn't need it.

I hit the cymbal
like every four bars.

When the intro came in,
I played on the ride.

When the verse came in,
I played on the hi-hat

because it's a part where
there will be vocals.

And just complementing
the song and not

playing a lot, just playing
time because that's all the song

needed.

I have the bass
accompany me, I wanted

him to play pretty close to
what the kick drum was playing,

which is four on the floor.

So I'll demonstrate.

We're going to play it
slower than the actual song,

just so you can see how the bass
comes in with the kick drum.

One, two.

What I've demonstrated
is four on the floor.

The bass was playing
almost the same thing,

but at the tail
end of that phrase,

he ad-libbed a
little bit to make it

a little bit more funkier,
which is really nice to have.

Sometimes you just play
it straight, it's OK.

He's just improvising on the
last phrase of that rhythm.

On "Love Bizarre" the
guitar was really important.

And of course, in collaborating
with Prince on this song,

he played the guitar.

There's a thing that
we call chicken grease.

Michael set up a little
bit of the chicken grease.

He's playing the part.

And everyone plays chicken
grease a little bit

differently.

And the way that
prince played, no one

can really duplicate
what he did.

But a little bit of influence
from listening to what he had

played definitely is the part.

First of all, I want
to clear up a rumor.

In "Sister Fate,"
there is in the video

there's a mystery lover.

Now, right here in front
of millions of people,

you will reveal, is that
or is that not Prince?

Yes.

[CHEERING]

The truth will out.

The story on how I met
Prince was 1977, I think,

right before his
first album came out.

My dad was in Carlos
Santana's band.

And he came back from
the studio and said,

there is this guy in
the studio playing.

He's really young.

He's like a kid, and he's
playing all the instruments,

and he's probably producing it.

And they were all amazed.

And his name was Prince.

Like, this is crazy.

We never heard of him before.

Next thing I know, I see him
at an Al Jarreau concert.

And I'm listening to
Al Jarreau right here,

and then I turn and
look, and I saw him,

and I'm like, oh my god.

He is fine in person.

I mean, of course, but that's
really what I was saying.

And I couldn't believe it.

And he just stared at
me, and I stared at him.

And I'm like, hi.

And he's saying, hi.

Over Al Jarreau playing,
like, no one else existed,

and we just looked
into each other's eyes.

And then the next time I
really met him in person

to say hello and introduce
myself, he performed

at a theater called, Circle
Star Theater, in San Francisco.

And I heard that he was in
town his first time performing.

So I was like, we
gotta go see him.

So I went backstage to meet him.

And I pulled the curtain open,
and he was in the mirror,

combing his hair.

And he saw me coming, and he
turned around, and I said, hi.

I said, I finally
get to meet you.

I just want to introduce myself.

And he goes, he
put his hand out,

he said, I know who
you are already.

And I was like, oh.

He said, I've been following
your career with Joyce Duke,

and I saw you on
"Midnight Special,"

and I saw you-- he started
naming all these television

shows that we performed on.

And I said, oh, well, thank you.

Nice to meet.

I said, god, I love your music.

And he said, how
much do you make?

I mean, he just cut to, how much
do you make with George Duke?

I'm like, I don't even know what
it was, but I just told him.

He said, oh.

I'll never be able
to afford you.

And he just put his head down.

I was like, no.

I said, you know, things change.

Don't worry about it.

Anyway, we started talking.

We traded numbers.

And he started coming to the Bay
to visit me like every weekend

just about, or every
couple of days,

and I just show him
all of the Bay area

as much as I could
show him, you know.

And then introduced
him to my family,

and had him to come and watch
the Escovedo's play Latin jazz

music.

He was completely
blown away by not just

the music, because he had
never heard it before,

but the ability for
me to be able to play

with my family, which is what
he wanted with him and his dad.

He wanted that so badly.

For him to hear that
music and see us together,

he was overwhelmed,
and loved it,

and fell in love
with the family,

and that's how we
became friends.

So I met him before, he was
really famous, actually.

Back then, I was touring
and recording, and playing

with other artists, like Herbie
Hancock, Ashford & Simpson,

and George Benson, and started
jamming with Marvin Gaye.

After Marvin Gaye,
I met Lionel Richie.

I was playing with
so many people

and Prince kept coming out to
see the shows and everything.

And he was just
amazed by, OK, you

keep playing behind
all these people.

So he said, you
know, to me one day,

don't you want to do a record?

And I said, absolutely, I do.

He said, OK, well, let's do it.

Prince had his own
production company.

He was signed to
Warner Brothers,

so he was able to
sign other artists.

And at the time, he had already
signed Vanity 6 and The Time.

Being a solo artist
to me was going

to be completely different
because people knew me

as Sheila Escovedo.

And I knew that if I
wanted to do my own record,

I wanted to change who I
was, like basically, what

I look like, what
I wanted to do,

like, this was my opportunity.

I get to be someone.

This is my own record.

And I'm going to call the shots.

OK, I'm going to change
my name because everyone

got Sheila Escovedo wrong,
and they would mess it up.

So I was like, let's shorten
it to Sheila E. Plus back

in George Duke days, the
drummer would always call me E.

So I was like, OK, let's do
Sheila E. Sheila E works, OK.

Prince and I working on
the "Glamorous Life" record

was amazing and a
blur because we always

tried to stay up and see who
could stay up the longest,

you know.

Even if we drank coffee,
it didn't matter.

After you drink coffee,
it doesn't work anymore.

So we would just work
until we got tired.

So doing the "Glamorous
Life" record was like,

you know, coming up with
ideas, and we just kept going.

We were having so much fun.

We were laughing, and we'd take
breaks go into the courtyard,

play basketball, come back in,
and do some vocals, and then

more percussion.

And we just had a blast.

Seriously, it was so easy to do.

Like, I would barely set up
the timbales or the drums,

and he'd say, OK, you ready?

And I'm like, yeah.

But I was used to
people saying, oh, we

got to spend an hour, two
hours getting the jumps out.

We don't have time for that.

The drums are supposed to sound
like what they sound like.

And that was what was
great about his recording

because he wouldn't take
away the nastiness of what

that sounded like.

If his bass had a buzz to
it or a weird frequency,

he would leave that
because if you clean it up,

then it's going to sound
funny and it takes away

the funkiness of what he
wanted to create, you know.

And if you start
cleaning everything up,

then it becomes, as
he said, the LA Sound

where there's no
movement, there's nothing.

Everything's just right here.

His songs did this, they moved.

He took you on a journey.

And it was interesting
because it happened so fast.

The record, you know,
was put together,

we recorded, it was
done really quickly.

Basically in a
week, it was done,

and we went and took
pictures at Burbank Studios.

Did the cover of
"Glamorous Life."

I turned it into
the record company

at Warner's, and I said,
you know, the record's done.

[MUSIC - SHEILA E, "GLAMOROUS
LIFE"]

The first time I heard
"Glamorous Life,"

I was on Sunset Boulevard, and
I had rented a red Mercedes,

and the top was down.

And I was turning left at the
corner, and as I was waiting,

"Glamorous Life" came
on, I'm like, oh my god.

My song is on the radio.

And the top is down, and I'm
on Sunset, and we're in LA,

and it's Hollywood.

And I'm like, yeah, I made it.

Oh my god.

I'm just singing it.

And so I continue
to turn, and bam.

A car hits me.

And I'm like, are
you kidding me?

When I'm hearing my song for
the first time on a radio.

This guy hit the passenger side.

And so I got out of the car,
and I turned to the guy,

and he's getting out,
he's like, oh my god.

I said, are you OK?

He's like, yeah, are you OK?

I said yes.

Hey, my song is on
the radio right now.

That's my song.

Like, yeah.

It was so amazing to be
able to hear something

that you worked on, that is
your own for the first time,

and finally realize you
have a solo album and a song

out for the world to hear.

It was just a dream come true.

[MUSIC - SHEILA E, "GLAMOROUS
LIFE"]

SHEILA E (SINGING): She wears
a long fur coat of mink,

even in the summer time.

Everybody knows from
the coy little wink,

the girl's got a
lot on her mind.

The thing is that
shooting the video,

since I didn't have a
band yet, I had no band,

but I wanted the
video to come out.

I said, how I'm
going to do this?

Well, of course,
I'll call my family.

So I called both my
brothers and my sister.

I had my brother play piano as
one of the keyboard players.

He plays OK.

He's not really a piano player.

He's a percussion player.

I had my sister play guitar
because she looked cute

and it would be awesome.

I had my other brother, Peter
Michael, play saxophone,

except that instead of
him using saxophone,

it looked better to use a
soprano, which is straight.

And he would be able to
do more things visually

and choreography.

So we went into a
rehearsal space,

and I used my
ex-boyfriend on drums,

and my sister's boyfriend
on the other keyboard.

So it was a family affair.

It was like, we can shoot
a video, no big deal.

So we go into rehearsal,
and I started making up

steps that made sense
for me to play and sing,

so it wouldn't get in the way.

It's not like you could
say, oh, this was called,

the such and such dance.

There were no names.

I just made up things
that made sense

for me to play, sing in the mic,
turn, and do a specific dance

step.

So we shot the
video, it came out,

and the record was
a huge success.

SHEILA E (SINGING): And
by the seventh wave,

she knew she had a problem.

So I got together with Prince's
team because he had a team.

They did wardrobe,
they did hair, makeup.

And I thought, well,
with my sticks,

you know, I didn't
have a stick holder,

but with my sticks, what
if I'm playing timbales,

cause I'm going to front my
band with a pair of timbales,

which no one had
ever seen before.

So what if I have
these pants that

are built with pockets on
the side, like a holster,

and I put the
sticks on the sides.

So if I lose one, I can just
pull it out just like that,

and I'll be ready to go.

Before we introduce
everybody else,

what inspired all of this?

The movie, "Amadeus."

Did you see the
movie and said,

I want costumes like them?

Yes, yeah.

I thought it was
important, if you're

going to present
yourself on stage,

you have to look
at it being bigger

than life, which means you
have to be bigger than life.

When I became Sheila
E, I just thought, I'm

going to be totally different.

Dress really, really sexy.

And just put a doily here, here,
and here, and just be naked,

you know.

And I thought that
that was cool.

And even Prince said to me, are
you sure you want to do this?

And I'm like, yeah.

I'm going to be as
sexy as I can be, like,

what am I not going to wear.

I was young.

I got offered so many
things from drugs

to sex, to an
airplane, to a hotel,

for real, with my name on
it, which is ridiculous.

I couldn't go anywhere, and if
I did, I was getting mobbed.

If I tried to go
to the mall, they'd

have to shut half of the
mall down, which was like,

how does that happen?

You know, I was
living what I wrote,

living the glamorous life.

So fur coats and spending
money on ridiculous things.

And you get to that point
like, everything is crazy.

I come back from
the "Purple Rain"

tour after doing a year and
some change, 98 shows probably,

and I owed $990,000 at
the end of the tour.

How can I be on tour
for a year and owe

almost a million dollars?

Like, what happened?

I lost my mind, and I
learned a huge lesson.

When someone tells you, don't
put your hand in the fire

because you're
going to get burned,

you kind of do it anyway just
to see how painful it is.

You know it's just part of life
to go through that experience

and figure out that was a
mistake, I've learned from it,

so I can't move forward
with doing something better.

Something was
missing in my life.

I felt like I was not playing
as much as I was singing.

Doing different things,
but I wasn't playing.

And my heart felt a
little void, there

was-- there was a little bit of
emptiness where I wasn't being

fulfilled by the love and
the passion of something

that I started with.

Then I decided, I would
just want to play drums.

I want to play music.

I don't want to think
about being up front.

And Prince kind of
overheard me and said, hey,

you want to start
a band together?

And that band became the
"Sign 'O' the Times."

To be a drummer with
Prince was pretty awesome

because I knew
most of the songs,

but it was actually the
first time I was ever

the drummer in a band.

We were constantly working
and working, working.

In '89, I said, I'm tired.

I want to take a break.

And I actually want to
do another solo record.

I did the "Sex Cymbal"
record in 1991.

But then I wanted to play again.

I wanted to go back
to some of my roots,

and play drums, and play
percussion, and play Latin jazz

music mixed in with a little,
you know, Funk and R&B stuff.

So I created a band
called, "The E Train."

And it was a smaller band,
sometimes six, seven piece,

and we would just play.

And I was able to
just play drums.

And I felt like it was, like
cleansing for me at that time.

It was what I needed
to do musically.

It wasn't to be the
big star singing

on stage and the outfits.

It had nothing to do with that.

It was just, I
just want to play.

I just want to play, that's it.

And it fed my soul.

It really did feed my soul.

And then after that, you
know, I started writing again.

And of course, always never
really stopping with Prince.

We continued to write and work
together, and play together.

(SINGING) She wears a
long fur coat of mink,

even in the summer time.

Everybody knows from
the coy little wink,

the girl's got a
lot on her mind.

I think meeting Prince
was the best thing that

ever happened to him.

[LAUGHS]

For real.

We became friends really
quickly because of music.

The many times
that, you know, we

tried not to go
past the friendship,

it ended up going past.

So we were definitely
together for a very long time.

Had a beautiful relationship.

I think that working with
someone that you love

is a lot of fun, and
sometimes, it's stressful,

and it's challenging at times.

But at the end of the day,
even when we weren't together,

we were together.

And we knew that we were
meant to be together

because of the love of
music, and the passion,

and the connection of always
trying to outdo each other,

you know.

And loving, just loving
life, and enjoying the things

that we had to share
with each other.

Working in the music
industry my whole life,

you learn a lot of
things the hard way.

I want to share with
you some life lessons

to help you avoid
the mistakes that I

made so you can
grow as a musician

and follow your dreams.

If you want this
to be your career,

you really have to work hard,
and I mean extremely hard.

And when you think
that it's hard enough,

then go even further.

You gotta really
do the training.

If you want this
to be a career, get

with people who can
encourage you to help you.

Network is very important.

I made sure that I sat
down, listened to what

people had to say.

I learned a lot by listening,
not talking, but listening.

I learned a lot by
jamming with other people.

I went to every
place that I could

when I heard someone would
be playing, if there were

jam sessions on the streets.

I was in the parks jamming
with people, on the grass,

in the park.

I was everywhere with
everyone to just try

to understand the different
genres of music, what it

would take to learn that music.

Would I want to play
that type of music?

What artists would I play with?

What was I interested in?

That experience is so important.

There are a lot of no's.

There are a lot of rejections,
a lot of negativity.

You know, do it for yourself,
and believe in yourself.

You know, no means opportunity.

No means opportunity.

It really does.

Sometimes they'd say no to
me, and I just thought, yeah,

I don't think they really know.

So since I can't walk
through the front door,

I'm going to go
to the side door.

OK.

Someone was there.

They kind of know.

OK, never mind.

I'll go to the other
side of the stage

where they kind of don't
know me and say hey again.

Can I sit in and play?

And all of a sudden I'm onstage.

These five people
over here said no,

but I made my way to the other
side and said, you know what?

And I got on stage
and I said, I just

wanted to show you
I believe in myself.

I want you to believe in me.

I'm really good.

I love what I get
to do, you know?

So you have to
believe in yourself.

You have to be strong.

And no, again, doesn't
mean you're failing.

Just fail forward
and continue to walk.

If you show the
enthusiasm that you're

willing to work and
put in the hours

and be there and be dependable,
that'll change the world.

You can prove to
people, this is my gift.

I'm really good.

I'm on time.

I'm here.

I want to do it.

This is what I love to do.

I have great musician
friends that are incredible,

can solo play amazing.

But they're undependable.

They bring baggage where,
you know, there's drama,

or they're not on time.

They don't learn the music.

They don't care.

It's like, I'll learn
it when I get there.

I don't want that
kind of attitude.

I'll never call you back.

I want someone that
I can depend on.

I want someone to be there
because they want to be there.

Even though you're a jumper,
you might be called a tech,

and that's OK.

I've learned so much
behind the scenes.

I started out
trying to figure out

how to roll the cords, the
microphones, where they go,

how do they sit, how to mic.

I know how to mic my own drums.

Percussion, I use specific
mics for certain things.

I change the mics.

I change the heads.

I learned all the
behind the scenes.

Whatever I could
learn, I learned.

There was nothing beneath me.

If I wanted to be a part
of a situation, hey,

you know what, I'll come in.

I'll just hand out waters.

I don't care.

Whatever I need to do
be a part of a team.

So sometimes you have
to do these things.

[DRUMMING]

Playing percussion is not
always just keeping time.

It's really adding color to
a painting that's already

painted, you know,
and what color

would you put if you
had the opportunity

to put even just one thing.

If there is a song that
is being presented to me,

and it only calls for me to
play a triangle at the 82nd bar,

if I wait to play
that one triangle,

I'm going to play with
everything that I have,

go ding, and let
it just be that.

It doesn't mean, because
I have all this here,

that I have to play it
to be heard because I

didn't play anything if it only
requires you to play one thing.

And that's discipline.

You have to be disciplined
and obedient to knowing

what is right for the song,
but when someone hires you,

what is right for them?

You might not agree
with their suggestions--

the producer, the
artist-- you might not

agree with what they want.

Not at all.

But that's OK, because
you're there because they

want your flavor on the song.

So figure out what that
is, and if it's something

that they're suggesting, you
do it, even if you don't agree.

There are opportunities
where you're

able to be creative on your own,
and someone will ask you, hey,

you know what, just
do what you feel.

Those opportunities
are there sometimes.

But again, that
goes with experience

and being able to create and
not put yourself in a box

and come up with things.

Sometimes there
are opportunities

where you have to play
exactly what is written,

just like scoring
movies, and you're

in a symphony and an orchestra.

That tympani comes in
at a specific part.

You have to play
it when it's there.

It's supposed to be there.

It's written in that way.

That's not work for hire.

That's you sharing your
gift with a lot of people.

And you're a part of a team
that is creating something

that no one else is doing.

You're a part of a team.

That's important.

[DRUMMING]

The only way that you
can get past being

nervous and scared to perform
is continually doing it.

But at the same time, I'm
always nervous when I play,

whether it's for two
people or 20,000.

I have butterflies.

I'm anxious.

I'm excited.

And I know that that feeling
was the first feeling

that I felt at 15.

And I know that
if that goes away,

that means I shouldn't
do it anymore.

So I accept what that is.

So let the excitement override
the fear, and go out there

and do it.

When I was still in my
teens, this great opportunity

was presented to my
dad and I, and that

was to record our own
record, first solo record,

with Billy Cobham
as the producer.

This was my first
recording session

in a professional recording
studio at Fantasy Records

in Berkeley, which was a
big deal because you really

had to be someone to
get in that building.

The scariest moment, though--

I was excited to
record, and my dad,

and the new music, and
Billy and everything--

but they always had
this light on the wall.

And it was huge, and
it was a big red light,

and underneath it,
it said "Recording".

And with that light, as soon
as they said go, are you ready?

Roll the tape-- and that
was tape back then--

roll the tape.

That light would go on, and I
almost wanted to, like, freeze.

It made me nervous, but
it actually scared me.

So if you're scared of
that red light, as I

was, the way that you
get over it to overcome

it is to really be in
the moment and realize

this is a great time, a great
opportunity do your best.

And it's OK if we
make a mistake.

And that's the biggest thing.

It's OK if we make a mistake.

We would fail if we
didn't try, you know?

It's OK.

Don't feel like you're going
to be less than if you're not

able to get over these hurdles.

And after awhile,
that red light,

I couldn't wait to see it go on.

I was like, come on,
give me the red light.

Give me the red light.

Here it comes.

Ah, yes, you know?

The energy changes.

And it's the way that you
think about it and accept it.

You have the choice
to change your mind

on how do you react
to the things that

are presented to you.

You have the choice to either
do something great, or don't.

And I would advise you
to do something great.

[DRUMMING]

My advice to anyone wanting
to get in this business

is to learn the business.

Figure out what it really means
to be in the music business,

in this career, because
you have to understand

what the contracts say.

If you don't understand,
get with someone

to explain it to you
until you do understand.

It's OK to ask questions.

If someone says you're
talking too much,

you're asking too many
questions, that means

you're going to get ripped off.

Someone should be
able to explain to you

and answer the questions
that you're asking.

I was young.

This was new to me to be a
solo artist in the limelight.

Fame, again, ego,
money coming in.

I could do whatever I want.

And you just don't
pay attention.

You just keep going.

You're like, what's the
next thing I'm going to do?

You're out on tour, you start
recording the second record,

as I did, so you're
spending more money.

Wait, I need to shoot
three more videos.

That's more money.

Well, wait, everyone
needs different outfits.

That's more money.

So you're hiring stylists.

You're hiring people to make
your costumes and things

like that.

And that money
adds up, you know?

And everyone that I
spoke to on the tour--

you've got over 100
people on the tour--

don't worry about it, Sheila,
we'll take care of it.

Hey, we got you.

Don't worry about it.

You just go out there and
do your thing, you know.

No, we're here.

Just sign this real quick.

You're just saying that
it's OK for us to go get it.

Absolutely.

Well, they kept saying that
they would take care of it.

However, the take
care of it meant

I was paying for it, not them.

So you just keep digging a hole
that gets bigger and bigger.

And next thing you know,
you owe $1 million.

I'm like, how do I owe it?

You said you were going
to take care of it.

And they said, we did.

We made sure that you
got what you wanted.

We didn't say we
were paying for it.

And it's like my
dad always said.

Read the fine print.

Understand the business
part because if this

is going to be your
career, it is a business.

[DRUMMING]

You have to always be
authentic to yourself.

There's no other way to be.

You have to be authentic.

And with you being authentic,
people can relate to you.

And things are going to happen,
and they're going to feel that.

They're going to be
inspired by what you're

doing because you're real.

They get it.

You can't fake that.

I've walked away from more
money than I've ever made.

I've walked away from
money that I won't take,

that is not worth taking,
because I don't believe in it.

if I don't believe in it and I
don't have passion for it, then

what's the point?

I'd rather work for free.

At some point in my life,
I got offered $1 million,

and they actually wrote a
check with my name on it

for half a million to say
if I do this infomercial,

they would give me the
other half a million

after I was done.

And I said, well, what
is the infomercial about?

And they said, well, it's a--
it's a psychic commercial.

And you know, we want you
to just sit with the host

and, you know, just
talk about whatever.

And I was like,
oh, absolutely not.

They're like, no, no, no.

This is a half a
million dollars,

and you get the other
half as soon as we film.

And I said, I don't
believe in psychics.

So I can't--

I don't care how much
money you give me.

You're offering me
$1 million, but I

can't take that because
I don't believe in it.

And the whole room got
quiet, and he just said,

do you understand, like, this
half a million dollars right

here is yours?

And I said, I do
understand that.

However, if you were
selling me Tupperware,

I would have took the check.

I believe in Tupperware, but
I do not believe in psychics.

[DRUMMING]

Some of the amazing women
that I've worked with

is, like, Beyonce, Cyndi
Lauper, Diana Ross, you know,

Gloria Estefan, J.Lo.

I think I attract
powerful women in my life

because I am powerful
and I'm strong.

And that stems from my mom.

She's the head and the
rock of the family.

And she's just, you can do
it, you can do it, you know?

Working with other women
in the industry, I think,

is really important
for so many reasons.

And the first is to
encourage each other

and bring a sisterhood together,
not this thing where people are

fighting and yelling and
screaming at each other,

and you said this
and you said that.

I'm going to write a song
about you about this.

I think that we should come
together as sisters, as women,

and encourage each other.

We're all going
through something.

Someone is always going
through something.

We're almost told to
put on a happy face

and go on like nothing's wrong.

And behind the scenes, a lot
of women are in hardship.

I was a fighter from
an early age, early on.

Yeah, fighting for
my life all the time.

I feel like I'm still
fighting for my life.

I think it's a
never-ending thing.

It's not just the business.

It's life.

It's being a woman.

And I feel that the industry
uses us as objects sometimes,

as to sell product, to
sell things, to make money,

you know?

And I felt like if someone
else was going to pimp me,

let me pimp myself.

I really did.

I felt like, then let me
be sexy because I want to

and make my own money, you
know, that kind of thing.

And then when I
looked in the audience

and I saw young girls dressing
like me with no clothes,

and I just thought,
how embarrassing,

and how naked I
felt at that time

to see young girls
dressing like me.

And I realized that I was
doing the wrong thing because I

think, you know, I
didn't understand

that the things that I said
and the things that I would do,

that I would influence
people in that way.

Had no idea.

And it taught me a huge lesson.

Ah!

Whoo.

Ah!

Ah!

Whoo!

That hurts, by the way.

But while I'm yelling
and screaming, I'm in.

I'm, like, deep, and every
single piece of me is--

every single piece of
me is in these drums.

This is the foundation
of who I am,

Sheila Escovedo, Sheila
E. This is me right here.

[DRUMMING]

I learned how to play
congas by watching my dad.

He had a band called Pete
Escovedo and the Escobedo

Brothers.

The first time I played
congas, I was five years old.

It was a show in Oakland,
California with my dad.

And he had just
finished his songs.

We went on the microphone.

And he spoke and said,
ladies and gentlemen,

I want to bring my daughter,
Sheila Escovedo, up.

She's going to
perform with us today.

She's five years young.

So ladies and gentlemen,
Sheila Escovedo.

And my mom walked me.

And it was just like, everyone
parted like the Red Sea.

It was so awesome, everyone
clapping, and yelling,

and screaming.

It's funny because I was so
small that I thought they gave

me a standing ovation,
but they didn't.

They were already standing.

[LAUGHS] Oh my god.

That was so funny.

I was like, oh, I got
a standing ovation.

My dad says, no, they
were already standing.

But I remember the roar and
the cheers of the people.

And that was something
that, you know,

you just don't let
go very easily.

It's something that you kind
of want again and again,

to hear the applause of people.

So I think being around the
music, hearing the music--

I don't know.

I don't think I had a choice
other than to be a percussion

player.

[DRUMMING]

I have three conga drums.

These two congas
are called congas.

This one is a tumba,
which is a lower drum.

So in practicing,
this is called like--

everyone has different
names for it.

For right now it's
called an open hand.

And basically you're
hitting your entire hand

on the drum just like this--

very relaxed.

Don't force, just very relaxed.

Do the same thing with your left
hand, right hand, left hand.

You want to make sure that
both hands sound the same.

The second, I should
say, sound for congas

is a slap, which you actually
cup your hand like this.

See?

And you hit the
tips of your fingers

the edge of the drum right here.

Same thing with your right hand.

You want them to sound the same,
flat like this, open, and then

slap--

flat, open like this, slap.

Those are the basic two
tones of playing congas.

There's one other one when
you're muffling the sound.

Muffled means like
you're trying to suppress

the sound like this, right?

For you that are just learning
how to play congas, really

basically is just
take your time,

practice on the sounds,
because you really do

want to make sure that it
sounds like that and like that.

[DRUMMING]

Most people in
first playing drums,

sometimes they have the
drum flat like this,

which your wrists are up like
this-- for me is uncomfortable.

I tend to lean my lead
drum at an angle, which

feels better to me
so that I can curve

this hand around like this.

For me as well, I
sit up very tall.

But a lot of people play
where they're lower,

and they play with their arms
so the drum is really high.

But for me, I like
to sit up tall.

I like to play with my wrists.

I feel like it's better
to play with my wrists

because it allows
me to be versatile

and in even playing
fast, you know,

because I'm using my wrist
as opposed to playing

like this with my arms.

And I don't know.

It just bothers me.

It doesn't feel as nice.

And for me, I think
the tone is better

when I'm playing with
my wrist as opposed

to playing with my arms.

Now, however, when
the music is louder

and you're trying to be
heard, to be a part of a team

and making sure that
you're listening,

there are times when
you do have to play loud

and you do have to
play with your arms.

You have to build
strength doing that.

It doesn't come easy.

It takes some time to be
able to play with strength

and be consistent in your time.

Some people get loud, and
they actually slow down

because it's too hard.

They're not used to it.

Some people play
soft, but they rush

because they're not used
to playing soft and being

consistent.

So that's another thing that
you should really practice,

is taking the time to play
soft at a tempo consistently

and making sure that you're
playing the exact tempo

that you practice with with
a metronome, or with a beat,

or a drum beat.

Same thing if
you're playing loud,

make sure you're playing loud
and it's consistent, you know,

so that when you become
sensitive to the music--

you're playing loud,
you're playing soft--

your time is never
going to move.

And that's really
important, really important.

[DRUMMING]

My right hand is
going to keep time.

And the left hand is soloing
in between this, right?

I'll do this really quietly,
and this left hand is like this.

I'm not really hitting it
at the same time as this.

I'm trying to hit in
between each beat.

You can also add doubles.

And this takes practice,
but to play a solid beat

like that, open and then slap--

that's why it's so
important to practice,

to make sure your right
hand plays and sounds

like your left hand,
and vice versa.

[DRUMMING]

These Latin rhythms,
there's many to learn.

But what I want to do
right now is play a--

I would say a slow cha-cha.

This beat consists of
maybe three sounds.

So the first one
is two open hands

like this and then a slap.

But the other hand that
you're not playing with

is called a floating hand.

And that floating hand
actually plays in between.

It's keeping your time.

It's 1, 2, 3, 4, 1, 2, 3, 4, 1,
2, 3, 4, 1, 2, 3, 4, 1, 2, 3,

4.

Practice that every
day, and pretty soon you

can play whatever
tempo in Latin music,

as this is one of the
common, I should say,

rhythms in Latin music.

And then you can
add the other drum.

Be consistent when you
practice, not just kind of lazy,

just like whatever.

Really dig deep, and be
serious about your practice.

Because when you
practice and you make it

as if this is going to be the
last time you're going to play,

it makes it so that when you
get ready to play and perform

with other people you've
already gone to a level

because in your practicing
it's been everything.

You really have to practice
and do it right, and do it

with passion, and really
mean what you're playing.

Really study and get into
it because it's just going

to make you a better player.

[DRUMMING]

I have with me my family, my
beautiful family-- my dad,

Pete "Pops" Escovedo.

Yeah, Papi.

Hola.

Papi, yay.

Thank you, thank you.

We love you.

My brother, Juan Escovedo.

Hello.

We love you too.

We love you too.

My brother, Peter
Michael Escovedo.

Yay.

We love you too.

We love you too.

And we're going to
share a couple of things

that we used to do
growing up in the house,

watching Pops play and
practice every day.

We just started doing
this growing up,

and we just want to share
with you a little moment

of a little Escovedo love.

Pops, you ready?

I'm ready.

All right.

Here we go.

I've been ready.

Let's go.

Aha.

Yeah.

Whoo.

[DRUMMING]

OK.

So for the first
piece that we played,

Peter Michael started
on the lower drum,

which is called a tumba.

So we'll demonstrate
that right now.

This is the part that he played.

That's one of the parts.

Now the second
part, Juan came in.

Juan, you played--

So what he played
was the bottom.

OK.

1, 2, 3, 4.

And--

Those are the two parts.

The third part, I just kind
of listen to try to find

either maybe one hit
that I could play in

between what they're playing
without playing what they just

played.

So I'll go ahead and
I'll demonstrate that.

1, 2, 3, 4.

Now, the next part was
playing those rhythms.

Pops was able to
then take a solo.

So we'll demonstrate that
now and how I kind of sneak in

with a little conversation.

1, 2, 3, 4.

When we freestyle
in playing together,

we sometimes give
a look like this.

[LAUGHS] We kind of feel it.

Or we maybe say, Pops, after
your solo, you play a break.

And then we'll all
play it together.

It's mainly-- when
you speak about soloing,

it's mainly a conversation.

What I think most
of us try to do

is that you can
envision in your mind

and sing what you're
going to play.

Now, if you can do
that and actually

make it flow into your
hands, then you really

are confident how to play a solo
because it's not just banging

away and banging away.

You have to make everything fit.

It's really paying attention.

It's a conversation,
back and forth,

and listening to each other--
very important to listen.

[DRUMMING]

I'd like to try a
little something.

How about we play a
pattern like a cha-cha?

And we want you to play with us.

And then you take a
solo for eight bars

and see how it feels, all right?

All right, here we go.

1, 2, 1, 2, 3, ah.

Now you solo.

Here we go.

Come on.

You can do it.

Yeah.

All right, my turn.

Your turn.

Yeah, you can do it.

Whoo!

Everybody's stop in 1, 2, 3, 4.

Stop.

Excellent.

Excellente.

You did good.

We're so proud of you.

Yes.

(SINGING) There is no
line, there is no line,

there is no line to my body.

There is no line,
there is no line,

there is no line to my body.

[INAUDIBLE] a
microphone fiend.

Baby was wet, Aquafina.

SHEILA E (VOICEOVER):
This is my song

"No Line" that features
my friend Snoop Dogg.

She said--

Give me, give me, all right.
(SINGING) Singing hey-ah.

SHEILA E (VOICEOVER):
I love this song,

but the reason
why I picked it is

so I can demonstrate my approach
to congas as part of a band.

Right now I'm playing
a pattern that you

can repeat while playing along.

It's not that difficult.
I'm alternating my right

and left hands while combining
techniques such as open hand

and slap.

The role of this
pattern for this song

is based on ba, ba, ba, ba.

Ba, ba, ba, ba, ba, ba.

And I wanted to
play the same rhythm

as the drums, maybe a
little bit adding the bass,

playing the same rhythm as well.

And I think everyone
playing it together

sounded like we were just going
to all dance the same rhythm,

you know, at the same time.

And just have fun with it.

(SINGING) There is no
line, there is no line,

there is no line to my body.

[MUSIC - SHEILA E. - "THE
GLAMOROUS LIFE"]

SHEILA E.: When I became
a solo artist in the '80s,

I fronted my band played the
timbales, something I'd never

seen before in popular music.

I still do it today.

It's one of my
favorite instruments

because it allows me
to dance, sing, play,

all at the same time.

(SINGING) --it ain't much.

These are called timbales.

Timbales are another Latin
percussion instrument.

Most of the time, timbales are
a 14 inch and a 15 inch drum,

which means one's
higher and one's lower.

Then high-low cowbell.

This bell, the big bell,
is called the mambo bell.

And the smaller bell is
called the cha-cha bell.

You can use a
symbol, if you like.

Latin music, you're
mainly playing time here

with this cow bell.

Sometimes, you're playing
time with this cowbell.

And you use these drums as
a fill, or playing a break,

something like that.

Sometimes--

The side of the
timbale is cascara.

You can use both sides.

Basically, I'm hitting
the side of the drum

and using my finger, this
forefinger right here,

as I play like this.

This feels right for me.

It might not feel right for you.

Because some people hold
the stick like this.

I like to hold it like
this when I'm playing

on the sides of the timbale.

However, playing the cowbell,
I would hold the stick

differently, without
my finger being here.

I would hold it more like this.

Even though some
people play like this.

Some play like this.

Some play like that.

As you notice, the pattern
that I just played,

this cowbell comes out here.

And the wider the bell,
the lower the tone.

Here at the top, it's high.

So you can get two tones.

[PERCUSSIVE SOUND]

This cowbell is smaller, so you
basically play the end of it

or the edge of it.

[PERCUSSIVE SOUND]

Very simple.

Now you try with me.

Grab some sticks and practice
on whatever you've got,

pots, pans, a chair,
even a pillow.

One, two, three, four.

[PERCUSSIVE SOUND]

Excellent.

Couple of sounds
on the timbales.

You just hit the
middle of the drum.

However, if you hit the edge
of the drum with the stick

and hit the rim, it
sounds different.

[PERCUSSIVE SOUND]

It's almost like the
slap in the conga drum.

That's the open hand.

[PERCUSSIVE SOUND]

Sound like you would play
on the congas, the slap

like you would
play on the congas.

[PERCUSSIVE SOUND]

You can also muffle like
I did with the congas.

[PERCUSSIVE SOUND]

Right.

Same thing with the low drum.

Open.

Hit the rim.

And it's a little bit
different hitting the rim

on the low drum.

It doesn't sound as nice.

I'd rather just do
it on the high drum.

[PERCUSSIVE SOUND]

Doesn't sound the same.

[PERCUSSIVE SOUND]

Sometimes when I do
accents with the low drum,

I would rather hit the cymbal.

[PERCUSSIVE SOUND]

When you muffle the drum, you're
really pressing down on it

to mute the sound a little bit
more so it doesn't ring out.

[PERCUSSIVE SOUND]

I sometimes take my stick
as I would do playing drums,

like a snare drum,
take the stick

and play it like a side stick.

This s called side stick, right?

And sometimes I would use,
again, the side of the drum.

[PERCUSSIVE SOUND]

So when you're experimenting
outside of Latin music,

you figure out ways to
make sounds like this--

[PERCUSSIVE SOUND]

--and and you're
hitting the side

and a little bit of the drum.

[PERCUSSIVE SOUND]

Part of being a
percussion player,

is you have to figure out what
rhythm works for that song.

So you might have to make
up something that's never

been played before,
or something,

a rhythm or a pattern
that wasn't taught to you.

Because you're really going to
figure out where is the space.

Where can I play?

You don't always have
to play the bells.

I sometimes just
play the cymbal.

[PERCUSSIVE SOUND]

But it doesn't have to apply
to Latin music timbales.

It can be a little
bit of everything.

So you're playing Latin
music, you're playing R&B,

you can play gospel music,
anything, reggae music.

[PERCUSSIVE SOUND]

This is going to be
different than a drum set

because there's no kick drum.

There's no kick drum.

But if you wanted
to, you could add

a kick drum because a lot of
players do play with a kick

drum with the timbales and
actually add a snare drum.

So it just depends on
what you want to do.

If you can't afford a
drum set, and you still

want to play percussion
use the timbales,

add a kick drum, and a snare,
if you'd like, and play.

[PERCUSSIVE SOUND]

Some of you might use
to timbale sticks, which

look a little bit different.

I use drumsticks.

It's better for me because I
switch from Timbales to drums.

And when I used to use timbale
sticks, they were too small.

I couldn't feel them in
my hand after switching,

so I decided to design a
stick that I could play both.

However, you can
use any drumstick,

if that's the sound
that you like.

I like it because there's a tip
at the edge of the drumstick.

And--

[PERCUSSIVE SOUND]

--it just helps
me to play as if I

was playing the drums as well.

Your technique, if you're
a drummer playing timbales,

you know the technique
would be the same.

Whatever your left
hand sounds like,

your right hand
should sound the same.

And the same way as doing
singles, you do a single roll.

And that comes from wrist.

So in school, they teach
you how to play this way,

and I learned how
to play this way.

So I use my fingers
sometimes playing doubles.

So that means two on each hand.

[PERCUSSIVE SOUND]

Or, 1, 2, 2, 1, 2, 2, 1, 2, 2.

[PERCUSSIVE SOUND]

And that's my signature,
either singles--

[PERCUSSIVE SOUND]

--or the 1, 2, 2.

[PERCUSSIVE SOUND]

And that's usually what I do.

But again, you have to
practice those rhythms so

that each hand sounds the same.

[PERCUSSIVE SOUND]

Let's try to play together.

I'm going to play the
cha cha bell very slow

so we can take our time
and we can play together.

Let's see.

One, two, three, four.

[PERCUSSIVE SOUND]

I'd like to show you a
little bit of the pattern

and play to "The
Glamorous Life," which I

think you'll have fun playing.

Here we go.

[SINGING] It ain't much.

There you go.

Now that I've shown you
the basics of timbales,

I'd like to apply
this with a live band.

I want you to check it out.

And then I want you to try
it as well at home, OK?

Here we go.

I basically took the cowbell
pattern from "Glamorous Life,"

and applied it to
a Latin rhythm.

It wasn't traditional,
but it was different.

So I played it, and then
when it was time to solo,

then I started to solo.

When you're soloing, it's
hard to play the cowbell beat

and play these other
drums, the 14 and the 15,

which is what you would solo on.

So you'd stop playing the
bells, and you'd start to solo

on the drums.

You can use the cymbal, you
can use the side, whatever you

feel like, whatever feels good.

But just remember, in
building your solo,

you start slow and
build and build

until it gets to this point.

And then you're done.

And after that, you
might get some applause.

Outside of Latin
music and most bands,

the drummer is the time keeper.

The timbales would be played
as an additional percussion

instrument, providing color.

Using timbales in some Funk
patterns would be different.

I might not even play the bells.

I might play the side,
the drum, just the cymbal.

We're going to demo
that for you right now.

[CHEERING]

But if you don't
see the drummer,

you might hear the drummer.

I pre-recorded it, which means
I sat here and played that,

recorded it, and now I'm
going to play it back

so I can play on top of it.

All right?

Here we go.

OK, stop.

Yeah.

Supposed to come in
right after the one bar.

No, we don't have
that much time.

Just start after the four.

Right on A flat,
right on the one.

Here we go.

Yeah, but how many
counts is it on the--

One, one bar.

All right.

Did you hear the click?

Yeah, I got the click.

Oh, OK.

OK, here we go.

And here it goes.

No, one more time.

Y'all can't count.

OK, this is what happens
in class when people

don't know where the one is.

So we always say
everyone has rhythm.

We all know where the one is.

Maybe we all don't
know where the one is.

So you've got to count, one,
two, three, four, everybody,

in, let's go play, everybody
in, let's go play, come on.

Oh, come on.

Oh, come on.

Here we go.

Here we go.

Then you've got to dance.

Lead the space.

Lead the space.

Keep going Huh.

Keep playing without a drummer.

Keep going.

Don't matter.

Fell down.

What?

Don't matter.

Keep going.

We break it down.

We don't need no drummer.

Hey, oh.

That's why you gotta play
it barefoot for the uh.

Whoo.

Come on.

That's how you do it
without a drummer.

Take your time.

Break it down.

Do what you want to do.

Feel good about yourself.

Uh, come on.

Uh.

That's your MasterClass for
today, ladies and gentlemen.

We want you to come back.

Play a little funk with the
MasterClass in the house.

Come on.

Uh.

Come on back to MasterClass.

Whoo!

MasterClass in the house.

MasterClass in the house.

MasterClass in the house.

Whoo!

Hey, uh, oh.

I love to experiment
with my sound.

Now that I've shown
you my drum set,

I want you to think outside the
box and create one of your own.

[DRUMMING]

I was doing a Hans
Zimmer movie recently,

and I wanted to get some
different sounds for him

because I always
bring something crazy,

because I'm always
experimenting on what

I'd like to hear or try.

There are no rules to say
this is right or wrong.

And that's what's fun about
it, is you're creating a sound.

This setup is a snare drum and
the little baby wooden snare

drum.

This is a regular snare drum.

And this is something
we just made up just

putting it together.

And a little baby
hi-hat down here.

Yeah.

This kick drum is
connected to a cajon.

This box is called a cajon.

So this setup is kind of
like a funky samba kit--

I don't know--
because you can play

all different kind of
rhythms, and you just

make it up as you go.

And I think that's the cool
thing about-- whatever you

have at home.

If you have some
things and you're like,

oh, I want to do traditional,
you can, but you don't have to.

Make up your own kit.

Make it happen.

And have fun with it.

[RHYTHMIC BEEPING]

I'd like to demonstrate how to
like layer different percussion

instruments together.

And I'll just play
something, and we can

layer, and layer, and layer.

And this is how you kind of
create your own loops as well,

your own sounds, you
know, by not sometimes

being traditional, just
making it up as you go.

So I'm actually officially
in a recording studio.

So this unit right
here is for me to hear.

I have an in-ear right here,
as you see, this right here,

little, tiny in-ear.

And I can hear the sounds
that come out of here.

So if I record this, when I want
to layer another instrument,

I'll turn it up, and this will
play back, and I can hear it.

And I'll add something
on top of that

and keep adding and adding.

So these are separate
channels in which every time

I record something, it
goes on another channel.

And then you just keep
building and building.

I'm going to put in
these ears so I can hear.

And I'm going to ask them to
play a click track at a tempo.

And what it is is
just like a metronome,

as we spoke about earlier.

It's just the timing of--

for me to follow so
that when I play this

and I get ready to record
something else on top of it,

it'll be in time,
in the same time.

So can you please play back a
tempo, a click track for me,

please?

[RHYTHMIC BEEPING]

OK.

OK.

All right.

So this is what we're going--

what I'm going to play to.

Now while that's
going, I can actually

add a little bit
more rhythm to that.

So I can get a little
bit more complicated.

Here we go.

And all you need
sometimes is four bars.

The time is still going.

And you can add breaks
to it like this.

Now when I place
all those together,

it'll kind of sound like this.

OK, so I want you to
play to this click

that you hear right now.

And play with whatever you have.

If you don't have any of
these drums, that's OK.

Play on the table.

Play on your legs,
whatever you have, OK?

1, 2, 3, go.

I'm just going to keep time.

Hey, right now you're playing
with Sheila E. Here we go.

Come on.

I got you.

Here we go.

Come on.

Keep going.

Keep going.

Come on.

You can do it.

Keep going.

Come on.

Now let's play together.

1, 2, 1, 2, 3, hey.

Break.

PETE ESCOVEDO: What?

SHEILA E:

Yeah.

PETE ESCOVEDO: Uh-huh.

Come on now.

You got it.

Keep going now.

Yeah.

Huh?

Yeah.

Yay.

We enjoy this and any
chance that we have

to be able to play with pops.

Pops has his band.

And Juan plays with him, and
Peter Michael plays with him.

And when I get a
chance, I get to sit in,

play with him as well.

What I've learned is that
family is everything.

It is a gift and
something so I say rare.

You can probably count
maybe on two hands

how many families are in the
music business, the music

industry, and able to
play together still.

Family means everything to us.

It is the foundation
of who we are.

You know, it starts with
the foundation of family.

And it's so important.

But this brings back,
you know, memories.

It's like, this
is how we grew up.

We-- it all started because
of him right here, my daddy.

It's all my fault.

[LAUGHTER]

It's his fault. If
he was a carpenter,

we probably would
have been carpenters.

But no.

JUAN ESCOVEDO: I
don't know about that.

That's right.

You know, because of my
early beginnings, I didn't--

I didn't in a
sense want the kids

to be musicians because it's
such a hard road to travel.

So I kind of kept
them away from it.

But every time I would go on
the road, when I'd come home,

I knew they were playing the
instruments because everything

was changed around.

But at 84 years
young, I'm getting

to the point of
shifting all of this

over to these kids over here.

They still don't have
it, though, but I--

[LAUGHTER]

Trying to get them
to do it right.

Know what I mean?

But, uh--

JUAN ESCOVEDO: Thanks, pop.

Yeah, it feels
really good for me.

It's been quite a journey.

But you know, you pass the
baton on to the younger people.

And I'm sure they're
gonna carry it on forever

and ever, and it's a good thing.

We grew up playing
together and playing

with a lot of musicians.

And nowadays, a lot of
people play in their room

with a computer by themselves.

So it is harder in this
day and age to, you know,

put a band together
or play with people.

And a lot of people are
just sending email--

emailing each other tracks, and
they come back and it's done.

I do the same thing.

We all do the same thing.

But every now and then, we
get to get together as a band.

And we look around
like, wow, this is cool.

Like, we actually get to
play in a room together.

And right now, you
have four drummers

who, the hardest thing
for anybody to do

is stay out of the way.

How do we not overplay
with each other?

And that's just from
playing with other bodies.

I know-- I can hear him.

I can hear her.

I can hear pops.

Without looking, I can just
feel it and I can hear it,

and I know other
things are going on.

And so for the student, you
know, get with other people.

Get with other musicians.

And go out and see
other bands perform.

Yeah.

You know, just go out
there and feel the vibe

and listen to each instrument,
like the drummer, the bass.

Don't just listen
to what you play.

PETER MICHAEL ESCOVEDO: Right.

That's how you
expand your listening.

I think for young people,
especially if they're

starting to play
these instruments,

is to actually
take some lessons.

It always helps.

And just devote your
time to practicing.

It's a-- you know,
you got-- you have

to be a little selfish in
this business with your time,

because you're gonna have
to put the time in to what

you want to do.

And it's not-- it's not
an overnight success.

You've got to work
at it, work at it.

It's like you take a
step up the ladder,

reach one level, the next
level, the next level.

You play with other musicians
that are better than you,

and you learn from them.

You just keep going on
until you get there.

So yeah, you just
gotta keep at it.

Keep at it.

So every single
one of you that

have watched this series,
this MasterClass series,

I'm gonna let you know
right now we hope that we

planted a seed of love--

PETER MICHAEL ESCOVEDO: Yes.

--and excitement, encouraging
you to do and be the best that

you can be and have fun
with it, live your life.

And we hope that we taught
you something maybe, you know.

And you know, I just have to
say, at the end of the day,

no matter what
happens, you are now

a part of the Escovedo family.

Come on.

More Escovedos.

[LAUGHTER]

All right.

Play us out, Peter Mike.

Let's play some 6/8.

6/8.

[LAUGHTER]

We love you guys!

Yeah, Thank you.

Thank you MasterClass!

[CHEERING]

Yay.