What’s the question every drummer hears at one time or another? – Who IS your FAVORITE drummer?
Well I’m sorry to disappoint you, but I don’t have one. There are, however, many players who have influenced me through the years. And I think this is a great time to give a thoughtful list of my drum heroes. I also hope you find this helpful as a reference of players you should listen to as a means to expand your musical horizons.
My first drum inspirations were not drum soloists. Although through the years the greats such as Gene Krupa, Buddy Rich, and Louie Bellson would be added to my list of drum heroes. It seems that I was more influenced by songs than individual musicians. Although it was the drums in those songs that always seemed to draw me.
I still remember my father reaching around to the back seat of the car to stop my pounding out the beat of “Pretty Woman.” The groove blasted from the little speaker hanging on the window at the “drive-in” theatre. Even today my wife, Leann, has to stop me from tapping out rhythms to the music at restaurants or in the car. I guess some things never change. “I got the music in me,,, I got the music in me,,, YEA!”
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The Worship Drum Book: Concepts to Empower Excellence is a powerful guide for drummers in contemporary churches and for drummers in traditional churches who are making the transition from worship supported by organ or piano to worship supported by a full rhythm section.
Who is your drum hero? Leave your reply in comments!
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Guest Blogger: Joe Conzo is the author of Mambo Diablo: My Journey with Tito Puente.
Today would have been my good good friend Tito Puente’s 89th birthday. And do I miss him .
I’m glad I wrote the book Mambo Diablo: My Journey with Tito Puente because it helps me reflects on all the good and bad times that Tito and I shared. But Mambo Diablo also shows the musican side of Tito and how he became one greatest latin musicans, if not the greatest in the 20th century.
In Mambo Diablo, you learn things about Tito that were never told before. Many books have been written about Tito, but none like one I wrote. There’s a chapter in the book titled “A Meeting of the Masters.” This is a unique round table talk with some of the greatest musicans in latin music of the 20th century: musicans like Machito, Mario Bauza, Miguelito Vades (Mr. Babalu), Federico Pagani, Charlie Palmieri, and of course Tito Puente. This alone is reason to read Mambo Diablo.
Countless stories have been written about Tito Puente’s percussive musical abilities, but never before have his talent and intuition, as well as the mishaps and controversies surrounding him, been presented with such vivacity and love, chronicling the popular and combative King of Latin rhythm who climbed from El Barrio to international fame and recognition, influencing multiple generations of jazzers and Latin rockers from Dizzy Gillespie to Santana.
Tito Puente was more than a flamboyant percussionist; he was a multi-instrumentalist and gifted composer. Despite the importance and popularity of Tito’s music, his contributions are too often ignored – witness Ken Burns’ television documentary about jazz which he virtually ignores Afro-Cuban jazz – this book reclaims Tito’s rightful place in the history of music.