The Third Annual Kennett Jazzfest will grace the Borough of Kennett Square on April 27-28 and feature over 15 artists “from near and far” who will play at multiple locations nestled in the heart of the borough. Hosted by The Kennett Flash with the support of multiple sponsors, the festival will be headlined by the guitarist Oz Noy, who will be accompanied by Brian Charette and on drums by Anton Fig, whose musical resume is now the stuff of legend. 

For 29 years, Fig was the “house drummer” for “Late Night with David Letterman,” but his musical resume also includes collaborations with Ace Frehley, KISS, Bob Dylan, Joan Armatrading, Cyndi Lauper, Joe Bonamossa, and of course, Paul Schaffer. I recently chatted with Fig to discuss his upcoming performance with Oz Noy, his introduction to the New York music scene in the 1970s, how the game of the studio artist has changed since COVID-19, and a career spent on both the stage and in the studio. 

Caroline Roosevelt: So what can we expect from you performing Oz Noy’s music at this weekend’s Kennett Jazzfest?

Anton Fig: Oz writes pretty adventurous music -- electric guitars, drums and organ. He doesn’t always do it like that, but that’s what he’s doing with a couple of gigs. It’s rooted in jazz but it’s not acoustic - it’s electric. It should be really interesting. He’s one of the best guitarists I’ve ever played with.

You are originally from Cape Town in South Africa, went to school in Boston, but you’ve called New York City home since the 1970s, so you’ve seen the full musical transition happening there.

Oh, absolutely. It was fantastic in the 70s, 80s, 90s, 00s. It’s changed a lot - the city took a big hit with COVID-19. It’s also started to change with these bigger conglomerate style businesses that built giant facilities that would wipe out the mom-and-pop stores that gave a lot of character to the city. New York got expensive. The Lower East Side was where the artists lived, and now it’s super expensive, and then everyone moved out to Brooklyn and that’s super expensive, and everyone moved out. A lot of the clubs closed, and the studios closed. There are places to play, but it’s not the way it was. I certainly felt like I experienced a really great time in New York, and then I had the Letterman Show, and I could just walk there from my house. 

CR: How did you get involved in playing in the house band for David Letterman?

The original band was fantastic with Steve Jordan on drums. At some point, three to four years in, Steve started taking time off for outside projects. Eventually, they got around to me. I substituted for a few weeks and then a couple sporadic dates, then I got a call that Steve was leaving the show and they said, “The job is yours!” And that led to 29 years’ worth of work!

You’ve also been recognized as a very well-respected – and busy -- session drummer. 

In Boston, I was into Jazz. Then when I went to New York I started getting into rock again and got in with a bunch of people, such as the rockabilly singer Robert Gordon. Then through that, I met his producer who was doing the Joan Armatrading record, “Me Myself I,” so he got me on that. And then, I also did Cyndi Lauper’s “Girls Just Wanna Have Fun” but at the same time, I had a band in the city with some other people from South Africa and we were auditioning bass players. We didn’t end up using a bass player who auditioned, but he told about a friend of his -- Ace Frehley from KISS – and he set me up with an audition with Ace.  I ended up playing with Ace and he asked me to do his album. That was the first big record. Then KISS asked me to do a couple of their records because their drummer had broken his arm and they had to get the record out on time. I wasn’t allowed to say it was me on the record, until they did – about 20 years later.

Did I also read that you worked with Bob Dylan?

I was doing some sessions with Ronnie Wood of the Rolling Stones, and one night Dylan came into the session, and we played a bunch of songs and he asked the whole band to come in a couple weeks later to record. We did about five songs, two of which were on two separate albums that he put out subsequently. I also performed at Bob’s 30th anniversary concert at Madison Square Garden as part of the house band with Booker T. and MGs. It was a fantastic concert.

You’re about to embark on a European tour with Oz that will take you to Germany, Slovakia, Hungary, Austria, Switzerland and Italy. How did you first get to collaborate with Oz?

I would play the Letterman show and then go play somewhere else at night. I played at this club called Zanzibar and the sound guy said, “Oh I know this guy Oz Noy, and I think you guys would be really good together,” and so over the decades, we have played together many, many times. 

How do you compare playing live versus playing in a studio?

I like them both, but they are completely different disciplines. When you play for a record, it’s kind of there forever. It might require you stick more closely with the song. In a jazzier live situation, you’re expected to improvise, and you’re not expected to be the same every night. You have permission to respond to what’s going on, but when you’re in the studio or recording at home, you’re doing less freestyling. You’re playing the song. It depends on the music. Some music you can express yourself a bit more, and sometimes you have to stick to it. I’ve always liked to be able to play the song, but also have the window to be expressive if the music calls for it.

The Third Annual Kennett Jazzfest will run from April 27-28 at the Kennett Flash, the Kennett Library and the American Legion Hall. Those wishing to attend can buy day passes, or a ticket for the headliner show on April 27 at the American Legion Hall can purchase tickets on the Kennett Flash website: https://www.kennettflash.org/2024-kennett-jazzfest/