Robert 'Sput' Searight, the cerebral drummer

Robert 'Sput' Searight. (Photo by Drum!)

Robert ‘Sput’ Searight is a cerebral drummer. He is in great demand having worked with Snoop Dogg, Justin Timberlake, Snarky Puppy and his latest project with Shaun Martin on Seven Summers (Ropeadope, 2015).

But his fans who celebrate his success as a drummer would be surprised that he is equally talented as a piano player.

Searight has been turning heads since the beginning, way back since his days at the prestigious Booker T. Washington High School for the Performing Arts. Geno Young, who also appears on Shaun Martin’s Seven Summers, remembered seeing Sput Searight around Booker T.

“I remember knowing Sput was a drummer, then going from my classical piano lesson into a practice room and hearing him play piano and I was like ‘what the hell? He plays like that, too?’ Geno Young said in an interview with Grown Folks Music.

Searight played piano in the Booker T jazz combo. “I went to Rutherford College for my Associate's Degree in music education, where I also played jazz piano in the big band,” Searight told the Modern Drummer. “I played drums in a second band. Then I went to North Texas State University, where the Snarky band members came from; all the raw drums that I had under my belt kind of met the technical side.”

Playing piano has informed his drumming much like it did for Antonio Sanchez, a long-time Pat Metheny collaborator, who was also a classically trained piano player. “I got a lot of information from the piano's perspective. I like Herbie Hancock, George Duke, Oscar Peterson. I don't sound like any of these guys, but they're my favorites. And Count Basie, because of how he phrased; he played from a melodic standpoint more so than chopping and fast scales. He made the songs sing like a vocalist when he played the piano. I was fascinated with his playing.

“It's meant everything for my drumming. When I play music, I'm thinking tones and melodies. I'm playing from a weird perspective for a drummer actually. I'm looking for melodies and using my ears differently, as opposed to always playing from a rhythmic standpoint. I am thinking melodies first.

“During junior college I practiced eight hours a day. It took a long time to catch up on school! I was practicing coordination, learning different styles. I wanted to practice both piano and drums, so I did four hours apiece. I played to Elvin Jones on records and transcribed his solos. I tried to transcribe Steve Gadd grooves as well as try to mimic the James Brown drummers. I'd see how long I could lock a groove and make it feel good.

“My career took off after my first year at North Texas. Now, after having a career in professional music for fifteen years, I don't have a lot of chances to practice like that anymore. I only attended North Texas for a semester and a half as a percussion major, then I began working. Snarky would come to Dallas for jam gigs. We mixed together in the Dallas community of music.”

Searight said it is important that a drummer or musician not limit himself. “In a nutshell, being aware of broadening my horizons, so that I didn't limit myself to playing one genre. I wanted to know every style, be in every situation and succeed. I wanted to be able to comply with every artist and producer. Being a professional, being on time, all these things have contributed to where I am today. I was taught by people who were very professional and encouraging and offered me good advice. I advise drummers to put themselves in the environment they want to be in. Work with musicians who will kick your ass, guys who will not just praise you but will tell you what you're doing wrong and give you the opportunity to learn. They'll be a big factor in the kind of musician you will become.”