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If you were featured on network television for over 40 weeks a year for nearly three decades, that alone would make you a legend. If you played with the likes of Madonna, Mick Jagger and Bob Dylan – to name a few – in your downtime from your Late Show With David Letterman television gig, then you would be something more than a legend. Obviously Anton Fig has had a one-of-a-kind career with credits like that, yet his workload remains heavy even in his post-Letterman career.
2015 brings the re-issue of Anton’s first-ever solo album, Figments, which first came out as a limited-edition pressing in 2002. Although Figments was mostly recorded in Anton’s New York apartment, it features an incredible collection of guest artists, including Beach Boys founder Brian Wilson, KISS guitarist Ace Frehley, Ivan Neville, Sebastian Bach, Al Kooper, Donald “Duck” Dunn, Chris Botti, Randy Brecker, Richie Havens, Conan bandleader Jimmy Vivino, and Late Show bandmates Paul Shaffer, Felicia Collins, Will Lee and Sid McGinniss.
Anton – who began drumming at age four in his native South Africa – answered some questions for Downtown about Figments and what is ahead for him as a working drummer.
Most people seem to know you from your 29 years with Paul Shaffer in the Letterman house band. Early into your tenure there, were you ever afraid of being pigeonholed as a “TV drummer?”
Anton Fig: Not really. First of all, I did not know how long the gig would last. Secondly, we played such a variety of music with so many different people that it was hard for anyone to pigeonhole that concept. Thirdly, I had a pretty good history and discography before I started on the show. So I was just adding to what I had already started.
On a recent podcast interview, [Saturday Night Live drummer] Shawn Pelton referred to being your Late Show fill-in as the hardest gig in the world due to Paul’s encyclopedic knowledge of both songs and their individual parts. Have you ever had a gig on a similar level of difficulty?
A: Any gig is hard until you know how to do it — or any song for that matter. Once you know how, it’s all easy. However, the show is very demanding on the drummer as there were so many variables flying around that you just had to learn, so if you were not used to it, it was like jumping onto a fast moving train. The more you got to know the intricacies, the easier it became for me.
Late Show aside, a lot of people seem to be most familiar with you for your work on KISS-related projects. How did that relationship come about?
A: A bass player was auditioning for my band, with others, called Spider. He mentioned his friend Ace [Frehley] was looking for a drummer for his album. I went up to record some demos with him and then went on to do his solo album. After that, when Peter [Criss] was unable to play the next KISS album, they called me — and for the one after that. Spider was eventually managed by Bill Aucoin, who managed KISS.
Prior to moving to New York, you studied at the New England Conservatory of Music. Do you attribute your unique style as a drummer more to schooling? Or is it a combination of both studying and learning on-the-job?
A: The latter. I was always interested in all kinds of music, so I could play in a few different styles quite convincingly. I was a good rock drummer growing up, and school got me more into jazz and classical, so when I started putting it all together, it worked for me. I learnt a lot at school, but the pro world was so different it was a combination of being prepared, working hard and getting lucky. In many ways I think I play pretty much the same as when I was six — I can just make better choices now.
Your new album, Figments, has a lot of special guests on it. Were there even more guests you had tried to arrange to be part of the album?
A: There was one famous guy who said he would do it and then did not seem to remember saying that after I worked the song up. But everyone else was who I wanted to have from the beginning.
How would you describe Figments to someone who hasn’t yet heard it?
A: A song record with different styles unified by my drumming and production. I think each song is its own story and I tried to make it so that you could enjoy the song, but also follow each instrument separately, and it would be interesting to the listener. It still sounds as fresh to me as when I began the project.
Will the band from The Late Show still be performing together in any capacity? Serving as the house band for events like the Rock & Roll Hall Of Fame’s induction ceremony?
A: Hard to say, but I would think we might get called for the Hall Of Fame. Depends also if everyone’s around. When that band fired up, it is a formidable powerful organism.
Aside from promoting Figments, what else is ahead for you in the near-future?
A: I just did the new Joe Bonamassa album last week and will be going out on tour with him for the next few tours. The first one in August is called “3 Kings,” which is a tribute to B.B. [King], Albert [King] and Freddie [King]. In September, we go out and choose from Joe’s large catalogue until the end of the year, covering parts of the States and Europe.
Having already played alongside so many legends, are there any gigs that remain on your “to do” list?
A: I’ve gotten to play with so many people and I never had a “to do” list. I just feel so fortunate that I have played with all the great people I’ve come into contact with.
Finally, Anton, any last words for the kids?
A: The harder you work the luckier you get.
-by Darren Paltrowitz