Reflecting further on his approach to music, Pilo says, “I just do what I do, and I would imagine there are plenty of people who don’t care for it, but I would hope that there are a few people who enjoy it. For better or for worse, I play what I play. I found that in music school, and early on in my career, that a person can get wrapped up in practicing all day, because you think that you aren’t good enough. You think that you need to go out there and sound like this guy or that guy to be successful, but I think there is still room for a lot of different musical voices from a lot of different people. I think there are a lot of people who can bring new stuff to the table. After years of trying to guess what is going to be popular in drumming or in general, I just try to do my own thing. I just try to go out and do what I do well, and if I end up in a situation where I am the right guy, I just do what I do.   I try to fit in as best as I can.”

Pilo’s comments beg the questions, what is the stamp that he has put on his music, and what influences shaped his music?  

“I think that my individual voice has come from a combination of different things, first and foremost the people that I studied with such as, Alan Dawson, Ed Soph, Dave Weckl and Jeff Hamilton. Recently, I have been studying with a guy named Aaron Serfaty; because I have been trying to get a little more of the Brazilian feel into what I am doing. Next on my list (of influences) would be the people that I try to emulate, through learning their licks and incorporating them into my own playing, and with my own feel. The list is too big to mention all of their names,” he says.

When the drums make more of a presence in the music, “I try not to think like a drummer, I try to think of the song, or think about what other people are playing around me. Sometimes I approach drumming from more of a musical standpoint, rather than how many notes I can play, or from a mathematical standpoint,” explains Pilo.

Investing a lot of time in preparing for gigs has played a huge role in terms of the success that Craig Pilo has enjoyed during his career. “I prepare for each gig as if it is the only one on my plate at the time.  When I do a gig, that gig gets 110% of my effort and research. I get a lot of online questions asking me how I broke into the (business). There is no silver bullet, but I will say that you cannot be over prepared for a gig. Last night, I played with Billy Vera, and I have played with Billy Vera and the Beaters before, but I haven’t done the gig in four years, because I have been traveling and unavailable. I went back and pulled out three or four of Billy Vera’s CDs, and I went through each of them. I had charts for most of them, but I went back and listened to them a few days before the gig. I sat down behind the drums, for five or six hours per day, just playing through everything. That way no matter what came down; I was ready for it, even if he went back and repeated a solo or changed the arrangement. If you take approach to any gig, whether it is Pat Boone, Player, or Frankie Valli it works. Preparation for gigs is really the way to go, and I think that if you over prepare for a gig, not only does it show the artist that you care, but the music will sound better. The people on the bandstand will also feel more comfortable with you. You also have to be able to fit into a group, and there are other criteria, but preparation seems to be a big, important part of it.”

Drummer Craig Pilo seems well prepared to take the next big step in his career, when he begins to receive the recognition that he deserves, as one of the music industry’s brightest and more talented drummers.

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