Today we’d like to introduce you to Christopher Allis.
Christopher, let’s start with your story. We’d love to hear how you got started and how the journey has been so far.
My father is a drummer and percussionist and my mother sings. So, there was always a vast amount of music around the house. My dad had (and continues to have) a little drum room in the house and around age four, I walked in and started experimenting. I guess mom and dad stood in the doorway looking at me saying ‘well, let’s see where this goes.
Dad showed me some basics as far as technique and I would play along to records in their collection. It was just so much fun! I remember points early on when I knew I found exactly what I wanted to be doing. Music wove itself through me really deeply and has been my most consistent companion in life after my family.
My formative years were spent in pretty much any and every music program offered at school. From 4th grade through high school graduation it was constant. I also got to study with some wonderful area drummers like Frank Briggs, Jimmy Johns, Karl Sterling, and Rich Mercurio. I got to sit in with local groups because I could get in with my dad and hang out. Once I started to get my own calls for gigs, it felt like ‘Okay. This is it!’. College saw me in all kinds of projects – I was always playing in more than one group. This is a philosophy that continues to feel comfortable to this day. I like the challenge and diversity of working with different artists live and in the studio.
The move to Los Angeles came about for a couple of reasons. I remember a conversation with one of my dad’s friends where he said ‘you need to leave Syracuse… or you’ll turn into us.’ I was struck by that statement. I wasn’t unhappy with what I was doing back east, but I did feel like ‘maybe there is something more?’ I also wanted a change of pace from the east coast. I needed a change. I was seeing someone who had moved back to LA after we graduated college. I decided to ‘go for it’ and packed up my car with drums and clothes and music and made the move. I don’t regret it.
I didn’t have much expectation of landing anything immediately because LA felt like such a huge city. I got lucky in that a few people heard me and liked what I was doing. They began recommending me for various gigs they couldn’t do. I’d also tech for a couple of people and those things began to get my name out. From there, it was really just a very slow and consistent build. Saying yes to whatever I could and showing up ready to nail the gig – whatever it was.
Just as it was when I was growing up, my playing experience continues to be really varied. I get to play with a lot of great artists Michael Nesmith – as part of his First National Band, Peter Asher, Deana Carter, Denny Laine, TJ Stafford, Michael ‘Smidi’ Smith, Circe Link, Emily Zuzik, Amilia K. Spicer, Kari Kimmel, Seven Saturdays, Janiva Magness, and Jacob Szekely (amongst others).
I also work with a lot of different producers doing everything from library tracks to film and TV music and artist recordings. While you may not be familiar with these names; you can rest assured you have heard their work. The opportunities to work with people like Michael ‘Smidi’ Smith (Gorgio Moroder, Ke$ha, Mozella, Tyrone Wells), Ronan Chris Murphy (King Crimson, Gwar), Mike Butler (Lynda Kay, Box Masters, Freddie and Francine), Guy Moon (composer ‘Fairly Odd Parents’, ‘Ren & Stimpy’), Meghan Toohey (Weepies, ‘Diner’) and Colin Liebich (BAE, Mojave Audio, Top Tomato Studios) is always a joy. You never quite know what they’ll throw your way and that challenge keeps things fresh and a lot of fun.
I also do special guest lectures at the USC Thornton School of Music several times a term (when we aren’t in the middle of a pandemic) where I work with beginner and upper division production classes. It’s a very holistic way of looking at things since a lot of times now – producers and artists may have never worked with a live drummer before. I demonstrate modern studio drumming techniques covering everything from drum set placement in the room, head selection, mic placement, muffling techniques, communication (how to ask for what you need out of a session player), how snare drum and cymbal choices can change the sound of your entire kit, etc. They are great opportunities to interface with a new generation of creators. I really love doing it.
Not too long ago, I went the route of a lot of friends and finally got my own recording rig happening as well. It’s been really interesting to think like a musician and an engineer in the same moment. It is a different skill set. In one (musician) the thing you need to figure out is to how to provide the artist with just the performance their music needs. In the other (engineer) you have to figure out how to get the sound you hear in your head into your system as cleanly and musically as possible. It’s not always easy. That said, it is a lot of fun and I’ve been learning a lot from this new endeavor.
I still think I’ve only scratched the surface of the instrument and who I am as a player. I’ve been called a chameleon and I appreciate that moniker. I love a lot of different music and the chance to learn about and play as much as I can is still a true joy.
I am just as passionate about music now as I was when I was a little kid. I have been allowed an embarrassment of riches through all of my experiences. There is a lot yet to uncover, discover, and do.
How can that not give one pause to smile?
Has it been a smooth road?
Being in any creative endeavor is not necessarily easy. I’ve had plenty of missteps and hiccups and all manner of face plants. I don’t think my struggles were necessarily that hard or atypical though. I think the hardest thing was just getting a foot in the door. Once you get that, it is up to you to bring your best self forward. Sometimes you need to fall on your face a couple of times to learn that. Once you learn that, though, it translates across whatever you do in life.
My parents only ever asked me to have something to fall back on if music didn’t pan out. So, I got my degree in something other than music (English, with minors in Writing and Art History). I’m glad I did. I have been a telecommunications trainer, office manager, manual writer, private tutor… I’ve done phone support, retail, etc.
I guess what I’m trying to say is I didn’t subscribe to the idea of the ‘starving artist’. I don’t think that having a diverse set of skills you can rely on detracts from your art (whatever it maybe). If anything those skills enhance the art because they almost always have to do with communication, empathy, and understanding. If ever there was a definition for art; it’s that.
So, as you know, we’re impressed with Topherdrum Productions – tell our readers more, for example what you’re most proud of and what sets you apart from others.
Topherdrum Productions is my cheeky business name and it revolves around all things percussion. I have my recording set up and a lot of gear. So, I’m able to provide people everything from drum tracks to percussion overdubs. I spend the time I need finding out what the artist is looking for and who they are inspired by. It’s a negotiation. I want to make sure I can give them what they need. If I can’t; I tell them and help them find someone who can.
I’m most proud of the fact that people like what I do. They are looking for what I bring to the table. That’s not just gear… but aesthetic, attitude, philsophy.
What sets me apart? I don’t think I have the biggest drum collection around (not even close) but I can cover a lot of bases with it. I have a willingness to listen carefully and understand what is required for each situation. I am not the type of player that will ‘phone in’ a performance. I take the time to communicate. I also joke (not joking) that my stuff is insured. If you don’t like what we did upon further listen, then I’ll work with you to make it right. There are limits to this of course, but I am willing to put my money where my mouth is and I rarely (if ever) have had people wind up unsatisfied.
Let’s touch on your thoughts about our city – what do you like the most and least?
A massive city means you have a diverse population and a lot of different opportunities for wonderful experiences (cultural, environmental, social) just outside your doorstep. The art. The food. You can get from the ocean to the mountains to the desert in a couple of hours. That is amazing and something I really do enjoy about Los Angeles.
I’m not going to romanticize it though. You have the typical problems of any large city. But that’s no matter where you go. To complain about it is missing the point. You moved to where the action is. That presents challenges. You deal with them or you get overtaken by them.
If there’s anything I dislike about any large city (but particularly cities that have a large entertainment/creative community) is this expectation that you are ‘owed’ something by moving here. You are not. It takes the time it takes. To be in a large city requires patience.
Contact Info:
- Website: www.christopherallis.com
- Email: [email protected]
- Instagram: topherdrum
- Facebook: https://www.facebook.com/christopher.allis
- Twitter: @topherdrum
Image Credit:
Photos by: Kendall Ruth, Circe Link
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