“Being true to yourself - pursuing musical situations where you can best contribute. I enjoy playing so much more when playing with people - and in styles - that really inspire me. Regardless what ‘label’ you put on any genre, if it’s soulful and uplifting, I’m there!”

Adam David: Heartbeat, Rhythm n’ Jazz

Acclaimed actor, musician and educator, Adam has performed extensively with numerous artists around the world. A Toronto based drummer-percussionist, he has played for Ray Charles, Vince Gill, Darlene Love, Tiny Tim, Manhattan Transfer, Michelle Wright, Charles Brown, Oliver Jones, Shirley Eikhard, Ronnie Hawkins and others. He recorded two JUNO-winning albums with Chris McKhool and Judy & David. A music education specialist for the Toronto board since 1979, he is also a Yamaha endorsed clinician. In 1981, Adam received a Canada Council grant to study privately with masters Peter Erskine, Ed Soph and Irv Cottler.  2020 marked his 28th year leading a percussion program at the Claude Watson School for the Arts. He has also been percussion coach at Toronto's prestigious Havergal College since 2009, now with multiple award-winning ensembles. His two most prominent bands - The Swingin' Blackjacks, authentic roots-rockin' blues, and The Gene Pool Boys, soulful, classic jazz - have remained active throughout Ontario for over 3 decades.                              (Photo: Adam David, an acclaimed actor, musician and educator)

After more than two decades of rockin' it right across Ontario, The Swingin' Blackjacks roar back with their new full-length album 'Never Tire, Never Stop' (2026), a runaway rockabilly bopper that captures everything the veteran trio does best. Featuring the powerhouse lineup of bandleader Matt Allen on guitar and lead vocals, Canadian blues nobility Gary Kendall on bass and vocals, and jazz-trained percussion master Adam David on drums and vocals, the band delivers their signature blend of rockabilly and jumpin' blues with an economical three-piece punch that hits with maximum impact. The album title perfectly sums up the band's dogged determination to perform rock 'n' roll and blues their own way for as long as they can—a mantra that has driven them through nearly six decades of combined experience and countless stages from Toronto's Cadillac Lounge to festivals across the province.

Interview by Michael Limnios.                          Special Thanks: Eric Alper

How has the music influenced your views of the world? What moment changed your music life the most?

How unique musical artists can touch the hearts of enormous numbers of people globally has always been a major driving force in how music encompasses my life. Several musical moments were pivotal for me over the decades… Some key ones: hearing fave, jazz icons in NYC clubs, late 70’s: Dexter Gordon, Elvin Jones, Bill Evans, McCoy Tyner and, of course Miles. Getting last min tickets to hear Bob Marley in Toronto - I had just turned 19 - just months before he passed. (Sly and Robbie Dunbar completely mesmerized with their grooves… massive, hypnotic!) And, at around 14-15, witnessing Oscar, Ella, Ray Brown and Herb Ellis tog. at an intimate Toronto venue. I was fortunate to get to play with Mr. Ellis about 5 yrs later... he was a guest at York Univ’s regular Monday aftn Jazz Workshop.           

How do you think that you have grown as an artist since you first started making music? What has remained the same about your music-making process? 

Great question… I continue to learn that figuring out what the artist’s music needs from the drums, is my primary goal. Rather than how I can stamp my sound on their music. The joy of making someone’s music feel good will always remain a priority. Thankfully, I’ve long grown out of the ‘gotta get my drum solo chops together - a typically early growth phase for younger, aspiring drummers.

Why do you think that Canadian Blues / Jazz scene continues to generate such a devoted following?

I believe Canadians are genuinely thoughtful - our audiences have big ears, they value unique, soulful voices… the tradition of blues and jazz (country/folk, as well), is embedded in those qualities. It’s often called ‘Roots’ music for good reason.

“I continue to learn that figuring out what the artist’s music needs from the drums, is my primary goal. Rather than how I can stamp my sound on their music. The joy of making someone’s music feel good will always remain a priority.” (The Swingin' Blackjacks, featuring Matt Allen on guitar and lead vocals, Gary Kendall on bass and vocals, and Adam David on drums and vocals / Photo by Lori Allen)

What do you miss most nowadays from the music of past? What are your hopes and fears for the future of? 

Music created-performed in real time, by a group of musicians playing collectively. So much music of the last 3-4 decades is pieced together via technology… vocals and solos are often recorded in final stages, on top of heavily mixed, processed bed-tracks. I do dig the textures of some multilayered recordings, but regardless of genre, there’s nothing more visceral than hearing fine musicians playing together, inspiring ea other - and an audience… eg: BB King, Elvin Jones’ quartets, Bill Evan’s’ trios, the Count Basie Band, Alison Krauss and Union Station, Bob Marley, Cyndi Lauper, Herbie Hancock, John Mayer and on… Lately, been blown away by Olivia Dean.

Are there any specific memories with Ray Charles, Charles Brown and Ronnie Hawkins that you would like to tell us about?!

The opportunity to play with RC was both, exhilarating and terrifying.  It was a last min. thing to sub for his reg. drummer. On 3 days’ notice… with no rehearsal!  His MD, saxophonist Clifford Solomon, who was mentoring me at a wkly jazz club, simply said, “Don’t sweat the charts (many were dog-eared, decades old), watch ME for all cues - and DON’T watch Ray’s foot (he notoriously stomped out of time!) It was surreal getting to perform with someone whose voice and playing were iconic. A little sad too, as this was later in Ray’s l life… his voice had become pretty raw, strained.

Charles Brown was a joy to play with, thanks again to Clifford Solomon, who co-led Brown’s quintet.  All jazz luminaries and total gentlemen, w/Andrew simpkins bs, Danny Caron gtr, Clifford on tenor sax. Charles had a beautiful, child-like wonder about him…probably why it took Bonnie Raitt and Don Henley recording his 1950’s hits, for Charles to ever see some royalty income - very late in his life and way overdue.

Ronnie Hawkins… a complete character, a country-rocker who knew how to entertain. Thx to the J K Gulley Band, we became sort of the Country back-up crew in the 80’s… played all across Canada for Hawkins, Tommy Hunter, Michelle Wright, Valdy, Marie Bottrell, Shirley Eikhard, Ronnie Prophet, Colleen Peterson… such a great period for me, working on creating solid backbeat to make the singer/song shine).

“Blues, Jazz (+ R&B and Country) are musics that essentially express the trials of being human. Just listen to the ache in BB King’s voice, or the gigantic sweet tone of Cannonball’s alto sax… when young aspiring musicians are moved to pursue music careers, it’s often because they were exposed to great musicianship from great masters who came before.” (Photos: Adam David)

What are some of the most important lessons you have learned from your experience in the music paths?

Being true to yourself - pursuing musical situations where you can best contribute. I enjoy playing so much more when playing with people - and in styles - that really inspire me. Regardless what ‘label’ you put on any genre, if it’s soulful and uplifting, I’m there!

And prbly most importantly, getting out of the way of yourself… I’m continually amazed when speaking with truly gifted musicians, how little ego they display. A couple of fav guideposts imparted to me:

1) “It should always be about the music, not yourself.”

2) “Practice is when you work. Performance is when you play.”

How can we bring the blues of the past into the future? Why is it important to we preserve and spread the blues and jazz?

Blues, Jazz (+ R&B and Country) are musics that essentially express the trials of being human. Just listen to the ache in BB King’s voice, or the gigantic sweet tone of Cannonball’s alto sax… when young aspiring musicians are moved to pursue music careers, it’s often because they were exposed to great musicianship from great masters who came before. Keeping live music active in clubs, festivals, school music programs is vital to sustaining the jazz and blues tradition. Places where seasoned and newbie musicians can congregate and ‘carry the torch’ are pivotal.

Life is more than just music, is there any other field that has influence on your life and music? 

In my 20’s, I became consumed by the dialogue of certain playwrights and screenwriters… Sam Shepard, John Patrick Shanley, Judith Thompson, David Mamet, Tom Stoppard…all profound writers of the time. Somewhat of a film junkie, I got the acting bug and started pursuing that, in tandem w/keeping up gigs. Acting feels similar to the musical experience, only your instrument is your voice and body. Through the voices of these incredible, insightful writers, I found an increased personal, organic mode of expression.  Group improv acting and playing jazz are very parallel experiences.

The bonus of these two disciplines: I believe the acting process has made me a better, more empathetic musician… and being a musician reminds me that, when acting, my best choice is simply to listen. Notice how often in close-ups, the actor isn’t speaking, but rather listening, reacting… Interesting, huh?

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(Photo: Adam David)