Sandro Feliciano is a popular guy. Popular, I assume, not just due to a constantly animated, energetic state that he can bring to a simple chat on the phone, but maybe even more so due to a singular ability to infuse his Brazilian style and sensibility to several musical styles at once. Utilizing his cultural background to enhance the music he is providing a rhythm and beat for, rather than overshadow it, Feliciano is well on his way toward establishing himself as the go-to guy for that distinctive sound for many bands and singers. We spoke to him as he was packing and preparing to go on tour with former Parliament Funkadelic bass player Starr Cullars. And as one would expect from a drummer who has been balancing touring with recording and his duties at the LA Music Academy - he did more than well multi-tasking with the packing and the interview — all while battling a cold.

I'll be playing with the bass player that used to play with P-Funk — George Clinton and the Parliament Funkadelic. She's a female bass player and singer. Starr Cullars. She has an album out right now and she'll also be joined by some other backup players in P-Funk.

I used to play with Teena Marie. And the bass player for Teena Marie recommended me to Starr. She had moved to L.A. — they're all from Philadelphia. I went to see her play and met her and that was that.

I came in 1998 to the LA Music Academy. I was searching for a music school, a program that was run like theirs was. A program that was really concentrated on putting you out on a job, you know? That would teach you in a way that what you learned in there was exactly what would happen outside. And I found out that their curriculum, in comparison to other schools, was run that way. I actually got to start out learning with Joe Porcaro and Ralph Humphrey, and I figured that the program at the LA Music Academy was like a professional prep that wouldn't take like four years. I needed something a little faster.

I guess more than the classes is the real experience the instructors teach and share with you. You know, like, what is it like to be playing with a big act or a name artist, and you learn that it's a gig just like any other gig. And you learn to treat it that way. You learn how to behave the right way in the business. That's probably the most important thing — how to behave because it's not always about playing.

Oh, yes. A lot of times. Besides this current tour, I've worked with this guy — Michael J. Lewis, who was a composer that did a lot of stuff during the late 60s, early 70s. I worked with him recently, playing some sessions of his which included drums and percussion — working with an entire orchestra. And because of the LA Music Academy, I could make the transition working [in that situation] very easily.

Yeah. In fact, I just had to get somebody to sub for me the classes I work there because of the tour. But, in the workshops sometimes, the jazz department for the bass classes — I'll work there, the master class. Ed Lucie from the school had asked me to join. He had seen me play at graduation for someone else at the school and he asked me to play for him, just to help him out. And he kind of liked it, so he asked if I would continue and I still do it when I'm in town.

Yeah. Sometimes the things we try to do as professional musicians are so much easier than they appear to be on the outside. You just need to be patient for it. Like, sometimes I always wanted to be ready! But often, it can't be rushed. You just have to work hard and believe what the teachers say and follow their instructions.

It was a really good experience. We shared the stage with The Gap Band. It was this old school funk thing, playing in front of five, ten thousand people.

We recorded some stuff for his last album. It was really good because I usually play drums or share drums with him and play percussion, but this time I also did some backing vocals. They were in Portuguese, and I am from Brazil.

With her, I did some shows were we were mixing in all the Brazilian vibe with the Hip Hop and newer generation stuff. We were down in Florida playing with Airto — sharing the stage, playing half and half from Airto's and Flora's careers.

I played with Brasil Brazil for awhile. I mean, I still do when I'm in town. We had a chance to play at the Lincoln Center, which was great because as I found out later, the Lincoln Center is considered by everybody to be the best place to play. And it was great. I mean, I don't know why — there are so many that I think are good for playing. We played in Korea, Russia - a lot of places.

I've played with a lot of people. There's a contemporary jazz guy — Matt Roberts...

It's a really interesting gig. He's a young guy, but he's very good, and a very open guy. And he loves Brazilian music too, so I help him out when I can as far as introducing him to the culture because he'll write songs in a Brazilian way. Kind of straight ahead between Brazilian and funk.

I turn it off and on because I try to adapt myself — as much as I can — to the style of music I am playing. Being a drummer, you're always backing someone else's project. And I look for people to play with who have their own stuff, and I want them to be themselves, yet understand the language of every style you want to do and respect it enough to allow it to sound like that, you know? But, of course, I bring some Brazilian flavor to what I play because I was born there, and it's incorporated into everything somewhat.

That is me. I can't help it. But, I am able to turn it on and off.

Yes, I do. The jazz guys call on me because of that. Because I can play the straight ahead jazz and I really like it. And, you know, I'm in America because I am sponsored by a gospel church. And the people there wanted to do something a little more extraordinary than your normal gospel. And I can play the funk without it, but usually that's the way they like it — with the Brazilian thing too.

In 1999, I was looking for funk stuff to play, and I found The Living Word Community Church of Los Angeles and began playing with their gospel group and hanging out with them. I was really enjoying the experience, so when it came time where I had to go back to Brazil because my Visa was due to expire, they offered to be my sponsor. They liked having the Brazilian thing with what they were doing, so I got my Visa through them. They have really helped me.

We've already done about twenty shows. And they're touring throughout the year, so I don't know how long I will be playing with them. I mean, through May, then I'll be back at the school for the summer, then back again with them. Because, while her name is not that big yet, the P-Funk is a famous name and a singing female bass player is not that common, you know? And they're mixing rock and funk. Which means I get to wear a lot of different hats too, fortunately.

I am also working with Roy Thomas Baker, who produced six albums for Queen, as well as The Cars, David Bowie, Ozzy Osbourne, Guns and Roses, Cheap Trick, etc., on a rock project. It's for a new band called Frequency. We've recorded some things already and it's been a lot of fun working with that guy. It's that difference between who is just "producing" and who is taking the musicians' ideas just a little bit further. You'll play and he'll see some stuff that he can take out of that and use it. I really respect that. I mean, I've played with enough people that you can see who really can talk the talk and walk the walk, like they say.