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Johnny "Vatos" Hernandez – Biography. Johnny "Vatos" Hernandez's professional drumming career began at age seventeen with a USO tour to South Vietnam. At nineteen, he was playing in local big bands, the LACC Studio Jazz Band and the Si Zenter Big Band.
- You Have A Reputation For Working constantly, and Taking All Kinds of Gigs.
- Do You Use Any Sort of Formula For Tuning?
- So Do You Always Tune Each Drum to A Specific Pitch?
- Do You Often Change Snare Drums from Song to Song in The Studio?
- Have You Actually Done That?
- Do You Play Heel-Up Or Down?
- What Kind of Grip Do You Use: Matched Or Traditional?
- Do You Warm Up Before gigs?
- How Much Do You Practice?
- Do You Have Any Particular Goals For Your Drumming?
True. Because I get bored easily. One of the reasons I have always enjoyed Oingo Boingo is that the writing is really progressive and always moving. I had all these influences. I enjoyed playing salsa music. I enjoyed playing with the country house band at the Palamino, drinking Jack Daniels in the back of a Chevy. I enjoy doing all that stuff beca...
Yeah, I do. I’m playing DW drums, so I’m into the whole timbre-matching thing. The fundamental of the drum is always paramount to the sound. Don Lombardi and I both studied with Freddie. He understands the way I play and he understands my tuning and my tom and the way I can bash and kill. I can destroy when need be. I’m really into tuning the drums...
Well actually, I tune them to themselves and the room. If I can’t get that marriage between the drum coming alive and the room coming alive, then I don’t use the drum. I put it back in the case and I go to another drum. Every room has certain pitches and certain fundamentals that resonate more than other notes. A really great room will allow you to...
Yes, I generally always do. Every once in a while I’ll use one snare on two or three tunes. But each tune is so completely different, that’s what’s really bizarre and interesting about the psycho acoustics of music. Even though I’m changing drums and doing all that stuff, when it comes down to the final production it sounds like it all works, like ...
Yeah. We were notorious in the earlier days, everyone kind of knows about our reputation now. You might be a big producer. You might come and talk with us and stuff, but we might fire you if we don’t like you. And you have to have an engineer that really understands how you work, and what you want to pull out of the sound. If I was really inexperie...
I play both. When I really want to sound like a cannon and blow people’s heads off I use my whole leg. I play Freddie Gruber style, where you’re actually floating all over the pedals and at any given moment you can use the whole weight of your leg. I don’t really flam my heel, I touch my heel on the heel-plate. Just the weight of the leg and that c...
I go back and forth. My first drum teacher was a rudimental teacher, so I just played traditional when I was in high school. I studied traditional grip and matched grip with Freddie Gruber. It’s actually kind of the same thing. If you hold your hand in a traditional grip and then just lift up those two fingers to support it, it slips into the crotc...
Yeah, but I figure by the time you get to the gig you have to have everything ready to do the job. You know, practice at home and do all th.at stuff. So my warm ups consist of warming up my whole body, stretching, rubbing, making sure I have total communication with all my appendages.
I practice every day. I normally work on staying loose, and I work on a lot of patterns, a lot of movements, and a lot of things that sometimes aren’t musical, but are fun to practice. [laughs] Like when guys play too many notes and it doesn’t really fit the music. You’ve got to save that for home, because if you aren’t making music then you’re pre...
I don’t think about which direction to go anymore. I have a constant dialog with the instrument at all times, and I enjoy all the different voices. I’m into a lot of percussion voices. I have djembes, I have Greek drums, Colombian drums, African drums. I have quite an extensive drum collection, so I’m constantly talking to those spirits. I love pla...
John Hernandez. Profile: Drummer and founding member of the Los Angeles-based band Oingo Boingo. In Groups: Doug & The Mystics, Food For Feet, Oingo Boingo, Oingo Boingo Former Members, Psychotic Aztecs, Swingstreet, The Mystic Knights Of The Oingo Boingo, Tito & Tarantula, Tremoloco, Vlatko (2) Variations: Viewing All | Johnny "Vatos" Hernandez.
9 ott 2019 · Dubbed “The Best Oingo Boingo band until Hell freezes over” by Richard Blade, they are an all-star cast featuring original ‘80s and ‘90s era Oingo Boingo members Johnny “Vatos” Hernandez (drums/jefe), Sam “Sluggo” Phipps (saxophone), Carl Graves (keyboard/vox), Steve Bartek (guitar), and John Avila (bass), along with ...
Johnny Vatos, along with a large powerful band that includes former members, Sam “Sluggo” Phipps on Sax, Carl Graves on vocals/keyboards, and Doug Legacy, who played on most of all the albums and toured for years in the band.
Doug Lacy (Boingo live keyboardist and percussionist) recruited bassist John Avila, guitarist Steve Bartek, drummer Johnny "Vatos" Hernandez, and saxophonist Sam Phipps (among other musicians) for a band called Doug & The Mystics. They recorded one album, New Hat, which included a cover of the Oingo Boingo song "Try to Believe".
Jazz musician Johnny "Vatos" Hernandez's bio, concert & touring information, albums, reviews, videos, photos and more.
