The Chili Peppers do a lot of improvising, but it's within the framework of song structures. The Meatbats is from a purely instrumental standpoint. But when you hear the term 'instrumental music' you think it's real serious stuff and everybody's playing a million notes and it's about playing fast. That's not what we do.

There's something about the rawness of the live thing, there's no rhythm guitars behind the solo, nothing other than what you hear the people playing at that moment. It's exciting, it's about the performance.

We always feel pretty creative as far as writing songs. We write them together; we just get in a room, or on occasion in Flea's garage. We just sort of improvise, like jazz musicians.

Playing well with others is important - not being too flashy, just keeping good time and of course coming up with cool beats. A good snare drum, kick drum, high hat. Just getting good at the hand feet coordination.

Flea and Anthony are into funk, like old school Meters and stuff like that.

Edible names are what drives me as a musician. My next band will be called the Hot Dogs.

Family time is really important to me.

I just love to play and I get a chance to play with other musicians and I jump on it.

I just try to approach and serve the music in the way that I think is right for the band I'm in at the time.

I'm a little more of a lead instrument in the Meatbats.

I'm a musician. It's what I do! I wouldn't be too good at anything else.

I'm being a dad and a good husband.

In some of the L.A. clubs, people can act too cool to get into your music. That can get to be a bit much.

Jazz can be so serious, no sense of humor.

That's really the thing that got me into playing a lot - getting excited about playing along with my favorite bands like Zeppelin and Black Sabbath.

The Meatbats are a throwback band.

Drums all have their own particulars - each drum has a place where they sound the best - where they ring out and resonate the best, and the head surface isn't too loose or too tight, mainly so you get a good rebound off of the head.

For live you need a microphone for the snare and the high hat, the kick drum, a nice stereo overhead and one for the toms - you can get away with using four mikes.

Going up north with the redwoods and driving along the coast, it's got everything, man. It's got the desert, the mountains, and the ocean. It's beautiful.

I had sort of exhausted all the avenues playing in Detroit. So again, through the stewardship of my brother, I ended up in California and went to the Musicians Institute in L.A. I wanted to get better as a player.