Nick has been involved in the drum corps activity since 1979. Throughout 15
seasons as a performer, he marched with The Satellites from Leicester, MA from 1980-
87, The Spartans NH 88-89, The Boston Crusaders 90-91, Santa Clara Vanguard 1992,
The Star of Indiana 1993, and he marched his age out year in the Blue Knights in 1995.
As a performer, he was named the 1992 Drum Corps International Rudimental
Snare Drum World Champion, the 1993 Drum Corps Midwest Rudimental Snare Drum
Champion, and marched in the line that won the 1993 High Percussion Honors with The
Star of Indiana.
In 1994, he performed as the Snare Drum Soloist in Star of Indiana’s "Brass
Theater featuring The Canadian Brass.
Nick has taught and arranged for numerous marching bands and drum corps including:
· Blue Knights
· Boston Crusaders
· Crossmen
· Spartans of New Hampshire
· The Spirit of J.S.U. co-arranger and battery head for the past four seasons
· The Troopers in 2005, as caption head and arranger
· Kennesaw Mountain High School, caption head and percussion arranger in 2004-2005
Kennesaw Mountain High School is a three- time Bands of America National Finalist.
He was an Original Featured Star performer for the Tony and Emmy Award-
Winning Broadway Show, "Blast!" from 1999-2003, where he performed in London at
the Hammersmith Apollo Theatre. During this tenure, he also performed with ?Blast!?
at The Broadway Theater in New York City and in the original touring company for
?Blast!
Nick attended The University of Massachusetts at Amherst, where he received a
degree in Music Education, and he is currently the Assistant Band Director for The
University of Cincinnati Bearcat Bands under the direction of Dr. Terren Frenz.
He continues to do percussion clinics all over the world, and he has studied
under Thom Hannum, Ralph Hardimon, Alan Murray, Scott Johnson, Colin McNutt, Jim
Ancona and many more.
You have been drumming since age 5. How did drumming present
itself to you so early in life?
My Aunt and my mother were the managers for a feeder corps named the Satellites from Leicester, Massachusetts. They had marched in The Leicester All Girl Drum and Bugle corps in the 50's and 60's as well as their oldest sister Nancy. The corps went co-ed in the mid sixties to be renamed as the Starisers.
Was marching a result of learning to drum or did you learn to drum because you were aware of drum corps?
I guess I was a product of my environment. My mother was an extremely talented soprano bugle player who was known for being a soloist so I figure there is "some" innate ability thrown in there.
Having marched at least 5 different corps (those are the ones we could find!) what are some of the things that you learned or endured that you carry with you today or that shaped your outlook on percussion
and the activity of drum corps?
Pretty close, I marched from 1980-1995:
Satellites 80-87
Spartans N.H. 88-89
Boston Crusaders 90-91
Santa Clara Vanguard 1992
Star of Indiana 1993
Brass Theater 1994
Aged out w/ the Blue Knights 1995
I guess that would make six different organizations. I always put all of energy into hitting the drum. For some reason, if someone told me to hit the drum harder, higher, faster or slower, I always tried to do it better than the next guy. I was always the young guy. I was playing with 13 and 14 year olds when I was 9 and 18-21 year olds when I was 14. I would say by the age of 15, I
realized that I was doing something most 15 year olds were not. This being said, I think it is hard in today’s generation to be told to do something without reason. We just did it because that was what you did! I guess the thing I learned the most is a “no tolerance” mentality. As far as percussion, I am a tradionalist. I feel that some of the best writing for
the activity was done in the mid 80’s into the early 90’s (If you can call that a traditionalist!). So to me it is hard to think that something is “new” or “innovative.” It has all been done to some degree before and sometimes better! I try to do my mentors proud. They will tell you when it isn’t good!
Through your marching was there anything that was vastly different between corps in regards to the type of education you received?
You are talking about 15 years. They all bleed together after a while, but I would have to say that what I learned from Thom Hannum didn’t matter if it was at Star or Umass, we learned about putting others’ first and personal sacrifice for the betterment of the group. It literally changed the way I perceive things to this day. He has had the biggest influence
educationally, musically and professionally to this day.
What is your favorite memory from tour?
Probably winning High Drums in 1993 with Star and what it felt like to play at that high of a level. It is probably what I miss most as a performer.
Worst?
Aging out and not making finals. After 15 years, what a bummer!
How were you hired/selected for Blast!?
I got a call from Thom Hannum about this new show being put together by Jim Mason corps director for The Star of Indiana. Jim had inquired about my whereabouts and the rest was history.
Performing wining contest solos with Star and SCV was the experience with Blast! Very similar?
Winning the solo competition was different than performing in Brass Theater and Blast! I was 18 and just wanted people to see me play. It just so happened I won the competition. Sure, I was trying to do my best. I was in the Vanguard and was a rookie. Need more be said?
As far as Brass Theater and Blast, I realized at an early age that I could control the audiences’ reaction through my performance. I remember being in Indianapolis performing at what is now called the RCA Dome in front of over 9,000 people. I came out to play and could not see the people at the top of the arena. It was so packed! I gave so much energy to that solo performance and they gave it right back! The roar sent chills down my spine. I realize now how those types of experiences as a soloist were very
special to the audience and myself.
Would your solos (in Blast) change with each performance, possibly a little improvisation, or were they written out and performed exactly at each show?
There were times where I would take liberties sure. It depended on the energy in the Theater. If I was playing well and was as we call it, “on” that night I would prolong or exaggerate a phrase differently. There were many times where I felt that every person in the audience and I was in complete sync. This is where you achieve the highest levels of
performance, physically, mentally, emotionally, and spiritually.
In creating the solos, was there much input or guidance from the staff or were they solely your creation to do what you please?
It was basically my 1992 solo that was modified for a different audience. George Pinney, the director of Musical Theater at the Indiana University, was hired just for that. He was our acting coach and he and I worked closely on what was possible or not as it pertained to the movements and expressions with the use of a rudimental drum. He gave me quite a lot of freedom and input with my character and choreography. We would grab lunch and
talk about what was possible physically with a drum on and gave me creative freedom inside his framework.
Was there less pressure moving from an event that is judged and scored with other performers to Blast! Where the emphasis would be
more on the appeal to the audience?
Absolutely not! The pressures of being a soloist with a Broadway Spectacle comes with great responsibility and sacrifice. You have to emote and excite every night. I had not missed a performance from September of 1999-April of 2002. I finally got shows covered by my understudy. We wanted the show to be successful and felt that any one of them could be your last. As a performer you must seize the moment or it will pass you by. Every performance counts if you want people to want to see your show! So, there are
similarities in the motives, but different levels of responsibilities.
Moving from outdoor to indoor did you have to make any changes in your playing? Were there any surprises?
Yes. Acoustically and aesthetically, it is totally a different experience. There are times where I may be only able to see a few rows back of 30 people full well knowing that there are 2,000! I tried to play every note to the last person in the back of the theater whether it was pianissimo or triple forte.
What has also changed my playing is the fact I herniated discs from the cervical area of my spine between discs 5-6 and 6-7. At one point, I lost around 90% of my ability to use my right arm. I used to think it was who could hit harder, stronger, faster, longer, but learned otherwise.
As an audience member, instructor, and performer, do you think it is important for the performer or ensemble to convey their emotion or
the emotion of the music? There are some lines who are very stoic or
monotonous in expression, never moving from the elbow down, others
you’re able to tell they’re having fun with it and ‘performing it’ as the visual people say.
Who is to say that the stoic line isn’t having fun? There is a term called “false hype” that to this day means, if you “aint” drummin’ clean beats than it “aint” fun. There are many groups that do not spend enough time on the fundamentals. I remember having one “tick” in my last 3 shows in 1993. That was fun! I still wish I could have that tick back!!!
Does your teaching style or approach to the ensemble (or section) change from one corps to another?
When at the Crossmen, we had a contingency of players that went to UMASS and studied under Thom Hannum and Colin Mcnutt. Brian Tinkel and I were also teaching the drumline and going to school. So there was a good understanding between students and instructors. I have a few things that I do differently from last year w/ Spirit and now with The Colts. You have to grow with every new situation and environment. What might work for one group may not work for another. I was in my 3rd year w/ Spirit. This is the learning year at the Colts. We have a lot of talent that needs to be harnessed.
From possibly a sociological point of view—
Attitude and personality are usual big factors when making a line…
Does the personality of the group have an impact on the experience of
the members, staff, etc. Do the players ever take on the
characteristics of the instructor?
Yes, one of the most important lessons to learn in life is to be considerate of others’ I like my students to know there boundaries in a social atmosphere. From a technical standpoint, there are none! You must have a humble but confident approach to the process. I never allow for my guys to gather personal gain through others’ failures. We
worry about what we can do to make our ensemble better.
Coming into a corps for your first year teaching is there ever any friction between vets who might be partial to the old staff or have the
‘change is bad’ sentiment? What would you recommend for a person
just coming into a program?
If they returned, they understood that change would happen. Many lessons that are taught in drum corps are universal concepts. The goal is to be the best we can be personally and professionally.
What is the most important lesson for a beginner preparing for corps? Is there only one?
Do some research. Go online and learn the “who’s who” of the activity. You really should listen to old recordings over the past 25 years or more and learn who wrote what show what year. That kind of thing…The difference today is there are great resources to find this information out whereas before it was word of mouth maybe a bootleg cassette
or if you were fortunate, a VHS tape!
Can you describe what the audition process will be like for the Colts?
The audition process is always difficult. I can fix hands much easier than feet! When you are auditioning for a group the reason for fundamental exercises is to see who can coordinate well with their feet and play with a consistent approach. Usually what happens is different exercises cause for breakdowns in the qualities and technique to the approach on the drum.
What qualities would the ideal candidate possess?
Good heart. Period
Every year nearly every corps claims ‘all the spots are open’ and that ‘even vets have to audition again,’ in your experience is that 100% true and will this be the case at Colts?
I would say that this is true. Whether you are a vet or a rookie, the goal is to get better. Vets usually can take the “heat” when or if they do not come prepared. They know they have to work hard to pick up the pieces!
This season with the Colts what are some of the things we can expect from the line?
A great deal of energy. The show is designed for strong drum moments and is fun to play.
What are some of your goals for the coming season?
To enjoy the process coming together and seeing the kids enjoy doing what they do performing the show. That’s it.
Scores and Judges:
Is it important to listen to them and take their
recommendations or is it more important that the staff and members
feel they’ve had a rockin’ show no matter what the judges say?
It is essential to listen and have a log book of all tapes and recaps. Some of these guys were judging me. Alan Christiansen, Chuck King, Peter Furnari, Jeff Properie, Glenn Fugett(Chief Percussion Adjudicator) and although recently getting back into teaching, The famous Charlie Poole. Honestly, I am forgetting some that I should not. Anyway, these guys are some of the top judges of all time and if they tell me something needs to be
looked at or addressed, you bet i I already have not, I WILL.
Thanks to Mr. Nick Angelis for taking the time to chat with LotPatrol!
