Session drummer

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: I've always been 100% drummer, and I've worked at many very nice projects. I really like the work I did with Rita Benedito. It was quite challenging, as I played and operated an octapad connected to a laptop, releasing the show's loops. Musically it was very interesting, because it was a job all over candomblé music. I really enjoy working with Osmar Milito, who is an excellent, extremely demanding and historic pianist. I really enjoyed the work of Dave Mooney, an American guitarist based in New York. Tim Maia's musical was very impressive due to the number of audience. We played at the Teatro Net Rio for nine months, from Thursday to Sunday, with 750 seats always packed.

Q: What was your career path? How long have you been doing this?

A: I was Born in the city of Florianópolis, Brazil, July 19th of 1974. Moved to Rio de Janeiro with three years old. I started to play percussion at the age of ten and with thirteen I started to play drums. I began my formal education with Joca Moraes and Cássio Cunha in 1989. With Joca and Cássio I've learned the art of Brazilian drumming. In 1994, I have moved to Los Angeles to master in what I've choosen as a profession. I've graduated in 1995, at the Musicians Institute (P.I.T.) and soon after I was called to join the team of assistant teachers of the school. I also was one of the three nominees for the latin music award. At the age of twenty two I was on tour in the US. The tours and recordings with different artists gave me the experience to become a Professional musician. I've played in the US with artists such as Ozomatli, Dwight "The Professor" Baldwin (Clinician and Educator) and The Toledo Show among others. Back in Brazil I have played and recorded with bands and artists such as Rita Benedito, Ângela Rorô, Kelly Key, Rita Beneditto, Sidney Magal, Bebeto, Tony Platão, Léo Maia, João Sabiá, Orquestra Republicana, Sururu na Roda, Farofa Carioca, Zero, Victor Biglione, Osmar Milito, Sidney Linhares, Marcos Amorim, Chico Batera e Davy Mooney among others. I've also played at the musical plays Broadway in Café, Cabaret Brazil, Peep show, Weill Cabaret, Estatutos de Gafieira, Tim Maia, Cássia Eller, Jim Morrison, Na Bagunça do teu Coração, Wilson Simonal, Sambra, Orlando Silva, Show em Simonal, Bossa Nova em Concerto and Isaura Garcia. As a teacher he had work at Cigam, In Concert, Musiarte and now a days at Maracatu Brasil. Kim is endorsed by RMV drums, Istanbul Mehmet Cymbals, Vector Musical, Power Click, Mister Mix and Luminote.

Q: What are you working on at the moment?

A: Recording drums and teaching.

Q: Analog or digital and why?

A: Both, each one has it's pros and cons.

Q: What's your 'promise' to your clients?

A: It will sound good!

Q: What do you like most about your job?

A: The great music I'm exposed to.

Q: What questions do customers most commonly ask you? What's your answer?

A: If I can record their drum tracks, I'm always ready for recording.

Q: What questions do you ask prospective clients?

A: How is the feel of he recording, and witch drum-set we will use on that recording.

Q: What advice do you have for a customer looking to hire a provider like you?

A: If you can send me a music sheet of the work you are willing to record, it would be great.

Q: How would you describe your style?

A: I tend to be more jazzy, funky, latin soft touch. Guitar player Joe Diorio always used to say in a class I attended: "I like the drummers touch"

Q: Which artist would you like to work with and why?

A: There are so many amazing people to work with that is hard to point one. Everyday music keeps surprising me with awesome music and new people.

Q: Can you share one music production tip?

A: Review your music sheet before recording, get a good sound out of your instrument, know witch style you are working on.

Q: What's your strongest skill?

A: Precision.

Q: What do you bring to a song?

A: I like to give to the song what the song needs to sound good. Some times more busy, some times more pocket playing. The song always tells me what to play.

Q: What's your typical work process?

A: I usually receive the song, review the music sheet or write one. Then I choose equipment and record a few takes.

Q: Tell us about your studio setup.

A: 16 channels focusrite saffire Pro 40, Apple computer, two drumsets always ready for recording from pop to jazz.

Q: What other musicians or music production professionals inspire you?

A: Dave Weckl, Vinnie colaiuta, Dennis Chambers, Rafael Barata, Edu Ribeiro.

Q: Describe the most common type of work you do for your clients.

A: I mostly record drumset tracks.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: Hihat, snare, bassdrum and a pair of sticks.

Q: What type of music do you usually work on?

A: I work with a wide variety of styles.