: Dean Butterworth
BUTTERWORTH at the drums.
He arrived in the band
in september 1996 after have been in competition with two others percussionist.
For him it's the fact that all the members of th band are so close
which makes that the result is a so beautiful music...
He tried all styles of
music : jazz, fusion, reggae, rock...
He communicates with
david visually and through instruments in order to be in a perfect
Here is the interview
of Dean done in 2000 by Sandra Salazar for Guitar Collector's :
Sandra Salazar: How
did you become an Innocent Criminal?
About five or six years ago, Ben and I, we met in a recording studio
in Hollywood. We became friends. And then at the time of Fight For
Your Mind, he asked me to come to play in studio with the band. I
learnt some Ben's songs, I went to play in the studio and the next
day he called back me.
In fact, Ben had chosen a drummer, JP (Plunier) an other one and Juan
(Nelson) still an other one, there was three drummers for the audition
and I has been chosen, in september 1996. We played together, that
was right, and since, the evolution has been very good.
Sandra Salazar: How's
As friends and partners. The more you are close to somebody, capable
of understanding him, of relying on him, the more it's transcent in
the music. Juan, Dave, Ben and I, we are very close and you can feel
that in our music.
Sandra Salazar: The
previous drummer (Oliver Charles) was rather Reggae, are you rather
No, I come from Jazz and from Fusion, Reggae too. I hadn't played
Rock'n'Roll for a long time. When I was at the secondary school, I
found that's was not good to like the Rock: if you didn't play Jazz,
you were not a good musician, because the Jazz, it's at once more
technical. I was a drummer of Jazz very snob! And then I discovered
The Police and Stewart Copeland, he blew out me literally. A little
as the drummer of Jimi Hendrix, Mitch Mitchell, who brought too elements
of Jazz to his Rock'n'Roll. But in the time, my references were Steve
Gal, Chick Corea, Buddy Rich, Lenny White, all the drummers of Jazz
Fusion, the list could be long.
Sandra Salazar: What
pleasure do you remove from it?
It's more difficult to play less than to play more. It's necessary
to be just rather than too much. You can always shout but the most
importing it's to speak, to say things sensitively. It's what I try
to learn. I behave as a sponge, I absorb the most musical styles that
Sandra Salazar: You
have a special type of relation with David (Leach), the percussionist?
We communicate visually on stage and through our instruments to avoid
interferences, although sometimes, we play the same thing at the same
time. We also like preserving certain bases in our collaboration but
there is always a door opened to the improvisation. That often arrives
and that allows to stay awake, don't get bored, musically speaking.
A good thing too, it's that we have about fifty titles to play, we
can change the set every evening and not sink into the rehearsal.
Besides, David and I, we are very close friends, even the days of
rest, we are always together.