SPECIAL YEAR IN REVIEW ISSUE

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2024 Readers Poll Results

Hall Of Fame

Bill Ward
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 CONTENTS

28 BILL WARD
Modern Drummer’s
Hall of Fame Inductee
By Mark Griffith
Photo by Chris Wagner

4 Modern Drummer December 2024

 Volume 48 • Number 12

38 MODERN DRUMMER’S 2024 READERS Reviews of equipment from Roland and Mighty Bright.
POLL
All the Winners and Nominees from this Year’s 2024 Readers Poll. 20 A YEAR IN REVIEWS
Modern Drummer’s reviewers Brian Hill and Jason Mehler take a
look back at their favorite products from 2024.
80 A YEAR IN CONCERTS
Pictures of the Drummers from the Biggest and Best Concerts
and Tours of 2024.
Pictures by Alex Kluft
DEPARTMENTS

82 A YEAR IN MODERN DRUMMER PODCASTS 6 EDITOR’S OVERVIEW

My Favorite Drummer Quotes of 2024.
Modern Drummer’s 2024 Podcasts with David Frangioni.

76 INDUSTRY HAPPENINGS
84 A YEAR IN TOUR KIT RUNDOWNS The Best of 2024’s Drum Shows.
Behind the Scenes Pictures from Modern Drummer’s Tour Kit Story and photos by Bob Campbell
Rundowns.

7 KIT OF THE MONTH

102 IN MEMORIAM Bringing an Eames Kit Back to Life.
The Drummer’s We Have Lost in 2024.

8 JAZZ INSIGHTS
The Rhythm of One’s Life.
LESSONS By Peter Erskine

68 BASICS 78 COLLECTORS CORNER

The 12 Week Year. The Year’s Best of the Northup Drum Museum.
By Chris Lesso By Tim Northup

58 TRANSCRIPTION 99 EYE CANDY

Black Sabbath’s “War Pigs” drummer Bill Ward. Frank Zummo’s Sum 41 Touring Kit.
Transcription by Marc Atkinson
88 OUT NOW: RECORDINGS
72 ROCK AND JAZZ CLINIC 2024’s Best CD Releases Featuring the Drumming of: Brian
Vocabulary Development Essentials Part 4: Hand and Foot Blade, Manu Katche’, Dave Weckl, Gavin Harrison, Mark Guiliana,
Combinations with Flams. Kendrick Scott, Robert “Sput” Searight, Dafnis Prieto, Carmine
By Mike Packer Appice, Robby Ameen, E.J. Strickland, Ches Smith, Rodrigo
Recabarren, Paul Motian, “Pacsun” Kaine, Kaleen Reading, Louis
70 ROCK PERSPECTIVES Cole, Jacob Hayes, Ronald Bruner Jr. and Tony Austin, Tom
Encyclopedia of Double Bass Drumming: Five and Six Note Skinner.
Linear Cross Rhythms.
By Bobby Rondinelli 94 OUT NOW: BOOKS
The 2024 Modern Drummer Reading List.
By Mark Griffith
64 JAZZ DRUMMERS WORKSHOP
Master Studies: Ostinato Studies.
By Joe Morello 98 HAND-PICKED VINYL
Ray Charles In Person, Miles Davis Star People, Willie Nelson
Phases & Stages.
74 TEACHERS’ FORUM
Understanding the Language of Music: Chord Alterations.
By Ron Spagnardi

EQUIPMENT
10 NEW AND NOTABLE
DW Limited Edition Performance Birch, Alesis Sets and Amps, LP
Signature Cowbell, Sabian Stratus Cymbals, ProMark Hybrid Hot
Rods, On Stage Student Percussion Pack, Bopworks Stick Station.
16 PRODUCT CLOSE UP
December 2024 5
 AN EDITOR’S OVERVIEW
My Favorite quotes from 2024

E very month I get to go through

all the words in Modern Drummer
and pull out my favorite drummer
Founder Ronald Spagnardi 1943–2003
quotes. The musicians say it best,
here are my favorite quotes from Co-Founder Isabel Spagnardi
2024.
Publisher/CEO David Frangioni
...sometimes you have to re-figure, COO Carolina Frangioni
not what you played, but what
actually makes the song work. — Content Director Mark Griffith
Budgie CTO Jason Mehler

Jeff Porcaro explained it to me,

Art Director Charlie Weinmann
saying, “Look, I want to hear a click Marketing and Collaboration Danny “Ziggy” Laverde
because where I put the snare drum
Marketing Coordinator Ricardo Rodriguez
is where I am hearing the time, but I need everyone else to play where they
are hearing the time, because that what’s going to make everything come Director of Collaboration Evan Stanley
together and gel.” And he was never wrong. — Steve Lukather
Photography & Archivist Felipe Laverde
When you play all these different kinds of music it can be very helpful. You Contributing Editor & Photographer Alex Kluft
have a familiarity with different styles in your drumming arsenal and you can THE MD PRO PANEL/ADVISORY BOARD: Chris Adler, Carmine Appice, Kenny
draw on those styles to create drum parts in bands. —Eric Singer Aronoff, Bill Bachman, Eddie Bayers, Gregg Bissonette, Jason Bittner, Bill
Bruford, Will Calhoun,Terri Lyne Carrington, Matt Chamberlain, Peter Erskine,
You must be authentic. If you’re going to play a music and it’s not authentic Dom Famularo, Daniel Glass, Alex González, Danny Gottlieb, Benny Greb, Matt
then you haven’t done your homework. —Greg Hutchinson Halpern, Horacio Hernandez, Gerald Heyward, Taku Hirano, Jonathan Joseph,
Jim Keltner, Paul Leim, Peter Magadini, Pat Mastelotto, Rod Morgenstein, Andy
Newmark, Carl Palmer, Stephen Perkins, Dafnis Prieto, Rich Redmond, Brian
I could either destroy Motörhead songs with technical drum shit, or I could Reitzell, Jim Riley, Bobby Rondinelli, Antonio Sánchez, Cindy Blackman
sit and play a boring beat right through the songs. But I didn’t want to do Santana, Chad Smith, Steve Smith, Todd Sucherman, Billy Ward, Kenny
either of those things. —Mikkey Dee Washington, Dave Weckl, Paul Wertico, Dennis Wolfe

CONTRIBUTING WRITERS: Donn Bennett, Clayton Cameron, Bob Campbell,

You don’t always have to look outward for inspiration, you can also look Peter Erskine, Dom Famularo, Bob Girouard, Mike Haid, Brian Hill, Daru Jones,
inward, inside of yourself. —Michal Miskiekwicz Nic Kubes, Chris Lesso, Peter Magadini, James Petercsak, Tony Verderosa

There are great drummers that know how to play on records, and there are MODERN DRUMMER magazine (ISSN SUBSCRIPTION CORRESPONDENCE:
0194-4533) is published digitally Modern Drummer, 1279 W. Palmetto
great drummers that don’t know how to play on records because all they’re
monthly and print bi-monthly by Park Rd, PO Box 276064, Boca Raton,
thinking about is the drums. — Lenny Kravitz MODERN DRUMMER Publications, FL 33427. Change of address: Allow
Inc., 1279 W. Palmetto Park Rd PO at least six weeks for a change. Please
You must be confident and comfortable with what you’re doing and just be Box 276064 Boca Raton, FL 33427. provide both old and new address and
the best you can be. When you stay focused on that, that’s when the world PERIODICALS MAIL POSTAGE paid at send to [email protected]
Boca Raton, FL 33427 and at additional
opens up, and you carve out your own lane. —Mike Reid
mailing offices. Copyright 2024 by POSTMASTER: Send address
MODERN DRUMMER Publications, changes to Modern Drummer, 1279 W.
I remember that Secret #1 was keep your hi-hat foot going when you’re Inc. All rights reserved. Reproduction Palmetto Park Rd PO Box 276064 Boca
on the ride. Secret #2 was to keep the kick drum going during a fill. —Nic without the permission of the publisher Raton, FL 33427.
Collins is prohibited.
Canadian Publications Mail Agreement
EDITORIAL/ADVERTISING/ No. 41480017 Return undeliverable
We are all into the energy that a band can have. I think that’s the classic tug ADMINISTRATIVE OFFICES: Canadian addresses to: PO Box 875, Stn
of war in music. It’s about the energy that a band can produce versus taking a MODERN DRUMMER Publications, 1279 A, Windsor ON N9A 6P2
songwriters view of things. —Patrick Wilson W. Palmetto Park Rd PO Box 276064
Boca Raton, FL 33427. MEMBER: National Association of Music
Email: [email protected]. Merchants, Percussive Arts Society
I was obsessed with the first generation of musicians that shaped hip-hop.
People like Keith LeBlanc, Doug Wimbush, all the Sugar Hill guys, Bobby MODERN DRUMMER welcomes
Simmons of Stetsasonic, and Pumpkin. —Questlove manuscripts and photos but cannot
assume responsibility for them.
Simplicity is way trickier than a lot of people think. If you have a song at 65
BPM, and the groove is quite simple, it takes a lot of focus, more so than if it Subscribe today at moderndrummer.com/subscribe
were a busier thing. —Bruno Esrubilsky MODERN DRUMMER ONLINE: www.moderndrummer.com

First, we must be aware that the clave’ per se is not felt in Venezuelan music;
secondly, Venezuelan music can be felt in many different meters. — Marlon
Simon

@ModernDrummer modern_drummer @modern_drummer

6 Modern Drummer December 2024

For some reason, drummers end up working on so much stuff It all started with Twitter, in order to get attention, you had
that is not only not useful, but maybe even detrimental to their to put a lot of information in very little space, you needed to
playing. —Dave Elitch butcher songs to get attention. On YouTube I can have more of
balance. The things I do on Instagram are appealing to some
Dynamics play a huge part, but you can only slam for so long. people, but I wouldn’t recommend playing like that anywhere!
You can have energy and not slam through the drums. —Zac — El Estepario
Farro
When I was younger, I used to focus on answers, but what
When two good beats hook up, that’s the beginning of creating answers tend to do are they close the loop—they end a
the groove... the groove is a vibratory source of energy that is transaction, whereas a question opens the door. —Mark
strong enough to attract individual players to it. That will make Guiliana
the groove even stronger. It ain’t mysticism it’s science. —
Johnny Vidacovich Thanks for reading,

Be careful to never revert to ego. Your ego can get you in a lot of
trouble. This is a marathon not a sprint. —Gerry Brown

...my father told me on his deathbed when I was 16. He said, “You
should live your dreams, not dream your life.” — Leslie Mandoki DĂƌŬ'ƌŝĸƚŚ
ĚŝƚŽƌͲŝŶͲŚŝĞĨ͕ŝƌĞĐƚŽƌŽĨŽŶƚĞŶƚ
DŽĚĞƌŶƌƵŵŵĞƌ

KIT OF THE MONTH

Bringing an Eames Kit

Back to Life
This month’s Kit of the new 14x14 floor tom that
Month comes to us from was made by Eames current
Chris Lauzon. His kit is craftsman, Mark Kohler. For
a 1986 Eames “Natural snares Chris uses a recently
Tone” drum kit, which are refurbished 5.5x14 Ludwig
100% birch shells made by Standard, and his go-to snare
legendary craftsman Joe is a 5.5x14 Slingerland Gene
MacSweeney. The sizes of this Krupa chrome over brass.
set-up are a 9x10 mounted Chris’ cymbals are all Zildjian.
tom, a 15x15 floor tom, and His hi-hats are an old 17” A
a14x20 bass drum. This set over a 17” K Fast Crash, a 20” K
was rescued from a large Constantinople Medium Thin
music retailer and was in Low, and a 19” Kerope with
rough shape, however the 2 rivets. Chris’ Hardware is
shells were round and true. lightweight Yamaha from the
The kit has some “battle scars,” late 80s, and he uses Remo
but it has a nice patina and Ambassador coated heads
sounds fantastic. Chris also and Los Cabos 5A sticks.
has a new 8x12 tom and a

Modern Drummer December 2024 7

 JAZZ INSIGHTS
The Rhythm of One’s Life
By Peter Erskine

W alking from one end of Milano Malpensa to the other,

the sheer size of the airport terminal is as impressive
as it is daunting. My Apple Watch tells me that I’ve already
relaxed as I encountered the “drumset du jour,” including a snare
drum with a broken lug and a very out-of-tune drumset. I simply
set about tuning the drums and luckily got a replacement snare
met my exercise goal for the day and it’s not even 7 a.m. My drum from a local drummer, all done in 20 minutes without
internal clock tells me that I’m experiencing deja vu all over breaking too much of a sweat. And no bad vibes from me (or
again, retracing my steps from three weeks ago when I began cuss words.) I signed forty diplomas for the attending crowd
this sojourn. Let me tell you about this trip, it’s been a doozy. to receive at the end of the class, and then it was show time. I
In recounting my steps, I hope to provide a glimpse of the played and I spoke, and I answered several terrific questions.
circular nature of things and how life’s rhythms can influence our I played some more, signed autographs afterwards, and was
drumming. rewarded by a pasta dinner. Which was followed by a trip back
I left Los Angeles on the sunny final day of September, flying to Cagliari airport to catch a midnight flight to Venice!
to Malpensa by way of Zurich. Arriving at night, I checked-in to Smooth landing in Venice despite a torrential rainstorm of
the airport hotel, grabbed some pasta for dinner and some zzz’s cats and dogs meets biblical downpour. The show, and the
for rest (but not for long.) I woke up at 4 a.m. in order to catch rhythm of life, must go on. My Italian agent and I drive to the
a 6 a.m. flight to Cagliari which is a lovely city on the southern next town where my workshop will be part of the jazz festival
coast of Sardinia. My Apple Watch told me that I had already met going on there. My agent becomes ill, and I carry on alone, so
my daily exercise goal by the time I got to the gate. My flight it goes… The next day, I am driven to a music store while my
departed on time, and I arrived in good shape, topped off by agent is ferried home to see his doctor. The show goes on, and
my being met in the arrivals area by a well-dressed driver who I am driven to Bergamo where I check-in to that airport’s hotel
rolled my suitcase to the parked car. Nice. Checked-in to another for an early morning flight to Berlin. This is where I will meet the
hotel and managed to grab four hours of sleep. Yay. Lunch at arriving members of my quartet: pianist Alan Pasqua, bassist
the home of the organizer’s friend, we enjoyed some fresh fish Darek Oles, and our special guest Bob Mintzer on saxophone
for our protein. Lots of good conversation, too much of it as who is in-between a radio big band gig in Cologne and a
it turned out, and there was a bit of a mad rush to the theatre Yellowjackets tour that will kick off in Sweden. I also meet up
where I would present a solo masterclass. with a person who has become an incredible dot-connector in
I was met by the local promoter who showed no sign of the rhythm of my life, producer Jeff Levenson. We have a coffee
nervousness or irritability because of my tardiness. And, in at the hotel and then embark on a walking tour of Berlin, a city
this small but crucial gesture of kindness, a rhythm was set for that seems to have changed every time I visit. One constant
the entire tour. His sense of trust caused me to be completely is the ever-nagging sensation or presence of ghosts. It seems
there’s too much history there for the land to absorb. However,

8 Modern Drummer December 2024

this could all be in my head.
Jeff and I find a restaurant for talk plus our late lunch / early
dinner sustenance, as we will be going to the Philharmonie
hall to hear the Berlin Philharmonic Orchestra with the one and
only Wieland Welzel playing timpani. This latest concert foray
proves to my ears that there’s no finer-sounding orchestra in
the world. The music is exquisite. The next morning, I take a
taxi to Wieland’s apartment home where we share stories and
catch up on our years-long friendship. The rest of the band
arrives in time for a home-cooked lunch, which wraps up just
in time for me to get to the Zig Zag Club where the quartet will
begin its European tour. More drums du jour, but they are tuned
and all set to go. I add my cymbals, we check the sound (while
imploring the house sound person not to use the subwoofer in
the club, and also not to change any instrument levels while we
are playing; in this band, it’s vital that WE control the dynamics.
The line to get in extends down the street. This is a nice way
to begin the tour. Two sold-out shows, both to an enthusiastic
and well-informed audience. All the years of work and learning
how to play this music are paying off, and we are rewarded
handsomely by the musical results. This is EXACTLY how I want
music to sound: with whispers, with clarity, with uncertain
results (seemingly guided by that invisible hand in the sky) that
are as pleasing as they are precise as they are unexpected, as This column is presumably read by drummers of many ages.
they are what they must have always been. This inevitability I’m preaching to kids “from one to ninety-two.” The kernels of our
seems as natural as the rhythm of breath. We are listening, and musical destiny are literally inside each one of us, waiting to pop.
so are the people in the audience. They can sense our respect When we give others permission to create, we give ourselves
for them and their musical intelligence. Audiences will do that. permission and allowance to be creative. When we express
They’ll also go along with some corny good-time showbiz stuff, gratitude to our muses, our gods, our angels, our parents, our
but the difference for me is enormous. teachers, and our friends, we commit a form of surrender … only
this surrender comes with a money back guarantee. LISTEN and
And so it goes, some harried travel to Budapest, then back to you will have fun. SWING and the band will have fun, and then
Italy, then to Bulgaria and back again to Italy for the duration. you will have fun. Surrender your ego, then everyone on the
The band sounds better every night! The vibe between the four bandstand will have fun. Of course, it helps to surround oneself
musicians could not be better: mutual respect and gladness with like-minded souls.
for the dynamic and note spaces that allow for maximum
creativity. The challenge is there, but not the struggle. Indeed, If any or all of this sounds familiar, it’s a variation of a rhythm
the day’s travel is the struggle, and each night, the music is our I’ve been promoting all year in these pages: play what you
reward. (My cousin noted on Facebook that, by the looks of a want it to sound like.
photo someone had posted of me playing the drums, I “look so All good things must come to an end. Thus, our concerts,
content.”) It doesn’t take much, meanwhile: it’s everything. Plus, pasta lunches, long walks with my camera, and other adventures
I’m no poker player: if it’s a bad hand, my face will show it. have brought me back to the airport which is now my portal to
Each night, I make mention before one of the tunes that we enter a time machine of sorts. I am being whisked to New York
all go back a long way. I first met Darek while he was a bass City to play for three nights at the fabled Birdland jazz club. My
student at the California Institute of the Arts. He now teaches wife will be meeting me for our “Autumn in New York” adventure
there as well as at the University of Southern California. Alan, which will include a couple of nights off. I’m looking forward to
Bob, and I have all retired from USC during the past year or so. seeing many old friends. Manhattan has its share of ghosts for
Alan and I go back to 1971 when I met him at a jam session on me, so there’s that. I’m looking forward to some overpowering
the campus of Indiana University. Bob and I go back to 1969 memory flashbacks of visiting Henry Adler’s drum shop when
when we were both students at the Interlochen Arts Academy I was kid, meeting Vic Firth there for the first time, and all the
(a boarding school in northern Michigan,) fifty-five years prior! times I got to meet and hear my drum heroes. I remember
The audiences are impressed by this. I’m impressed by this! Each the countless gigs I played in New York without the benefit
evening is marked by congenial playing, generous allowances of knowing what I know now. But knowing that I know these
are provided by soft dynamics and everyone’s awareness and things now because I did not know them then. We live. We learn.
liberal use of space. Each member of the quartet was willing We love. This rhythm of life is what drumming and music has
to NOT play at certain points to allow a duo or trio moment become for me.
to emerge. NOT playing requires as much listening as playing. Wishing everyone a safe, happy, and healthy new year.
However, knowing when and how to come back in, is a big part
of the magic. The musical dreams of our younger selves are
manifesting themselves right in front of our ears. I wrote about
all of this to my good friend Jack (another Interlochen alum and
colleague) and his reply: “Adventures of a 20-year-old in Italy as Check out Peter’s drummer profile page,
and get a copy of his Legends book at
experienced by his 70-year-old self.” moderndrummer.com
Modern Drummer December 2024 9
 DW LIMITED EDITION PERFORMANCE BIRCH, ALESIS
SETS AND AMPS, LATIN PERCUSSION SIGNATURE 8”
COWBELL, SABIAN STRATUS CYMBALS, PROMARK HY-
BRID HOT RODS, ON-STAGE STUDENT PERCUSSION
PACK, BOPWORKS’ STICK STATION
Drum Workshop Limited Edition The 6-½ x 14” snare has been built with a ten-ply Birch shell
with a 60-degree back cut edge. The snare is fitted with a DW
Birch Set and Snare MAG™ throw-off, a 3P (three-Position snare toggle) butt plate,
3mm triple-flanged counter hoops, Performance series turret
The Drum Workshop, Inc. (DW) Performance Series™ now
lugs, and True-Pitch® tuning tension rods.
offers a Limited Edition 4-piece Performance Birch Kit and
a Limited Edition Performance Birch Snare. DW’s Performance Birch has long been a favorite of studio drummers and sound
Series drum shells engineers, striking a perfect balance between crisp articulation
are handcrafted and warm tones. Suitable for live or studio performance of a
in California using range of musical genres, the Limited Edition Performance Birch
the company’s kit and snare drums offer crisp response, sharp attack, and short
HVX™ (horizontal- sustain all combined with a balanced resonance.
vertical-diagonal) To find out more about the Limited Edition 4-piece
grain orientation Performance Birch Kit and a Limited Edition Performance Birch
to ensure musical Snare please go to dwdrums.com.
expression
and optimum
performance. For
a limited time, Alesis Strata Core set, Nitro Pro XL
these custom-quality drums are available constructed with
100% Birch. Both the kit and snare are finished with a natural
set, and Nitro Amp.
satin oil finish and fitted with DW’s innovative chrome hardware. Alesis is launching the latest addition to the Strata Series. The
new Strata Core offers professional-grade sound and realistic
The kit includes 8x10” and 9x12” mounted toms, a 14x16” floor
playability in a compact, space-saving design, making it the
tom, and an 18x22” bass drum. The tom and bass drum shells
perfect upgrade for drummers looking for a high-quality kit that
are made using eight-ply birch with 45 and 60-degree back cut
doesn’t demand a large setup.
bearing edges. The hardware includes Suspended Tom Mounts
(STM), quarter-sized turret lugs, and graduated triple-flange The Strata Core combines the feel of an acoustic kit with
counter hoops. The bass drum is completed with matching Birch the versatility of an electronic one, making it ideal for studio
hoops and low-mass claw hooks. All the drums are equipped recording, live performance, or home practice. With its advanced
with True-Pitch® tuning tension rods. connectivity and customization options, drummers can adapt
the kit to their style, whether they’re playing at home or on
stage. The Alesis Strata Core Drum Kit Features Includes:

Drums and ARC Cymbals:

Kick: Strata Kick 8” (8” kick tower, mesh head)
Snare: Strata Drum 12” (12” mesh head with patented anti-hot
spot trigger system)
Tom 1: Strata Drum 8” (8” mesh head with patented anti-hot
spot trigger system)
Tom 2: Strata Drum 8” (8” mesh head with patented anti-hot
spot trigger system)
Tom 3: Strata Drum 10” (10” mesh head with patented anti-hot
spot trigger system)
Hi-Hat: ARC Hi-hat 12” Active (12” 360-degree triple-zone
cymbal with stand mounted active magnetic control system)
Ride: ARC Cymbal 14” (14” 360-degree triple-zone cymbal)
Cymbal 1: ARC Cymbal 12” (12” 360-degree triple-zone cymbal)
Cymbal 2: ARC Cymbal 12” (12” 360-degree triple-zone cymbal)

10 Modern Drummer December 2024

Module: Expanded 9-piece Nitro Pro XL
Included Drum Module: Core Drum Module w/ 7” touchscreen,
multi-core processor, powered by BFD3 sound engine.
Drum Kit.
Alesis Drums announces the release of the Nitro Amp, a
compact personal drum monitor, alongside the Nitro Pro XL, the
expanded version of the acclaimed Nitro Pro electronic drum
kit. These products are designed to elevate drummers’ musical
experiences, offering high-quality sound, greater flexibility, and
a truly immersive playing experience for practice, performance,
and recording.
“With the launch of the Nitro Amp and Nitro Pro XL, we’re
giving drummers more flexibility and power than ever before,”
said John Boudreau, Director of Product Management at Alesis.
“The Nitro Amp provides a compact, streamlined solution for
players who want to break free from headphones without
sacrificing sound quality, while the Nitro Pro XL expands the

Number of Drums Kits: 75

Number of Instruments: 25+ GB of multi-layered factory
content, 370+ Kit Pieces, 800+ Articulations across 4 diverse
sound libraries from Alesis and BFD
Module Trigger Inputs: 9 via cable snake, 2 x 1/4” TRS (drum
and cymbal triggers)
Module Analog Inputs: Stereo 1/8” TRS
Module Analog Outputs: 2x 1/4” TRS (main)
Headphones: 1 x 1/4” & 1x 1/8” Stereo headphone outputs
Module Midi I/O: USB MIDI, 5-pin In/Out, Bluetooth MIDI
USB: 1 x Type B (host) & 1x Type A (storage, external MIDI
controllers)
User Storage: 1GB+ internal drive
kit to deliver even more versatility for practice, performance,
Software: Free BFD Player + Core and Dark Mahogany and recording. These products are designed to elevate the
Expansion Packs drumming experience for musicians at every level.”
Included Hardware: 4-post Steel Rack, 3x Cymbal Boom Arms,
Snare Stand
Alesis Nitro Pro XL Set: Bigger, Bolder, and
More Versatile.
Alesis Compact Monitor and The Nitro Pro XL takes the widely loved Nitro Pro to the next
level. With nine pieces, including an additional tom and cymbal,
this kit delivers more playability, flexibility, and performance
power for drummers of all skill levels. Designed with a dual-zone
mesh snare and toms, a double kick-compatible drum tower,
and 36 professionally recorded BFD drum kits, the Nitro Pro XL
lets drummers explore a wide range of musical genres—from
intricate jazz beats to heavy metal.

Features of the Nitro Pro XL include:

Dual-Zone Mesh Snare and Toms: Offer precise, natural
response for dynamic playing.
Four 10” Cymbals: The crash and ride cymbals feature choke
functionality, allowing drummers to mute the sound instantly
for greater control and expression.
Bluetooth® Audio, USB/MIDI Connectivity, Aux Input:
Enabling seamless integration with external devices and
recording software.

Modern Drummer December 2024 11

Goodbye gels,
hello
Drops ®

Perfect your drum tone.

Gaffer’s tape and sticky goop

never belonged on drums. Drops
use gravity and air—not adhesives
or gels—to create a natural gate
effect on your drum heads. The
result? Clean, controlled tone that
lets your drums breathe. Available
in 40g, 60g, 120g, and 200g
weights, Drops reduce sustain
and eliminate overtones on snare
drums, rack toms, and floor toms
while keeping each drum’s true
voice intact. And no marks left
behind. Built tough from recycled
materials and designed in California,
Drops are made to perform in any
environment, from studio to tour.

Available exclusively at
tandemdrums.com
Durable Steel Rack: Reinforced for stability, making it easy to
set up in any space.
Latin Percussion Introduce Alex Van
36 Factory Kits, 16 Customizable Kits, and Over 500 Sounds: Halen Signature 8” Cowbell
Offering drummers a comprehensive sound library to work with.
90-Day Drumeo® Subscription: A world-class online platform
for drummers of all skill levels to advance their craft.
Built for drummers seeking to enhance their practice sessions
or perform with confidence, the Nitro Pro XL delivers the tools
and flexibility required for next-level drumming.

Nitro Amp: Compact Power and

Clarity, Seamlessly Integrated.

Latin Percussion (LP) is delighted to introduce the new Alex

Van Halen Signature 8” Cowbell.
Alex Van Halen, drummer, and co-founder of the influential
rock band Van Halen, has a unique playing style and exceptional
timing. His new memoir, Brothers, tells the story of one of rock’s
closest family partnerships and is published in October of 2024.
Famously, in the intro to “Dance the Night Away,” Alex uses a
cowbell to set the tone of the whole song.
The new, American-made Alex Van Halen Signature 8” Cowbell
The Nitro Amp redefines personal monitoring for drummers, is based on the classic LP Bongo Cowbell. The chrome-plated,
offering a cost-effective, space-saving solution that integrates mountable bell is embossed with Alex’s signature and the iconic
directly onto any Alesis Nitro drum rack. It’s ideal for players who Van Halen logo. It is fitted with the patented Jenigor Ridge Rider
want more than just headphones but without the bulk of full- Bar for dampening and durability and the patented, self-aligning
size monitors. With its compact design, this 70W peak-powered eyebolt that mounts to any 3/8” to ½” diameter rod. It pumps
amp delivers crisp, clear sound at moderate volumes, making it out high pitch sound with dry overtones making it great for
perfect for home practice, lessons, or casual jam sessions. punching accents into any big groove. “I have loved every minute
of working with LP to create my signature cowbell,” said Alex, “It’s
Key Features of the Nitro Amp: incredibly versatile, and its distinctive ‘tonk’ will add to the sonic
Compact, Rack-Mounted Design: Mounts directly onto the landscape of almost any genre of music.”
drum rack, keeping your setup tidy and streamlined. To paraphrase the ageless Saturday Night Live skit, ‘Maybe your
3-Inch Full-Range Composite Driver: Delivers balanced sound life needs more cowbell?’ To learn more about the new LP Alex
across all drum tones. Van Halen Signature 8” Cowbell and all the other products,
please go to https://www.lpmusic.com.
70W Peak Power Class-D Amplifier: Provides the headroom
needed to handle kick drums, snares, and toms without
distortion.
120Hz – 18kHz Frequency Response: Ensures clarity and
SABIAN Introduces further Stratus
coverage across essential frequencies. Cymbal series line extensions
Front Panel Controls: Quickly adjust volume and power with SABIAN is proud to announce the release of four new
ease. products to the Stratus cymbal series: the 17” & 19” Stratus
Balanced/Unbalanced TRS Input: Simple plug-and-play Crashes, 20” Stratus Zero, and the Stratus Performance Set.
functionality for quick setups. Adding to this growing new cymbal series, these new line
extensions add further color, sounds, and dynamics, along with
For drummers who want to move beyond headphones, a further economical way to start a Stratus selection via the
the Nitro Amp provides a practical, sleek solution for personal Performance Set.
monitoring while keeping things at a reasonable volume.
“The extra sizes round out our crash cymbal offering for
Pricing: The Nitro Amp is priced at $99 USD. The Nitro Pro XL Stratus, giving drummers a complete choice for the sound
is priced at $799 USD. they are looking for.” says SABIAN’s Head of Research and
Development, Randy Ross. He says further, “The 20” Stratus Zero
gives a further effects option for those who like these cymbals

Modern Drummer December 2024 13

 on the large size.” On-Stage’s Debuts New SPP1
The Performance Set comprises of 15” hi-hats, 19” crash and
a 22” ride - the perfect set for those drummers who like larger Student Percussion Pack
sizes and wanting to make an economical investment into the On-Stage, a leading supplier
Stratus soundscape. of instruments and accessories,
and brand of The Music People,
ProMark Hybrid Hot Rods has introduced the new OS SPP1
Student Percussion Pack. The
pack includes durable drumsticks,
rubber-tipped maple mallets, a
chrome-plated drum key, and
more.
ProMark Hybrid Rods offer the playability of a stick with Featuring all the essentials,
the volume of a rod. For too long drummers have struggled the OS SPP1 has everything a
to find a natural feeling rod or a quiet drumstick. Now, with beginner percussionist needs to get started, including durable
ProMark’s new Hybrid Rods, they can have both, all in one. A drumsticks, rubber-tipped maple mallets, a chrome-plated drum
fusion of tried-and-true hickory sticks and low-volume dowel key, an educational poster, and a customizable three pouch bag.
tips, ProMark Hybrid Rods deliver the low volume benefit of a The only thing missing are the drums themselves.
rod, with the feel and response of a drumstick. Available with Flexible, lightweight maple drumsticks are kiln-dried to
nylon or bamboo tips, both options have a uniquely subdued prevent warping. The OS SPP1’s rubber mallets offer excellent
sonic flavor. Both versions also boast a FireGrain 2B handle, bounce and tone and include wooden handles for comfort and
which delivers extra durability, thanks to ProMark’s special balance. The chrome-plated drum key fits standard 0.25-inch
flamehardening process. square-lug tension rods to easily adjust the pitch of a wide range
The innovative design of Hybrid Rods uses an adjustable of hardware. And to hold everything together we’ve included
O-ring, which loosens or tightens the a three-pocket bag which holds up to 20 sticks and includes an
external pocket to store drum keys and other accessories. For
dowels to alter the attack accordingly. With enhanced
more information about the SPP1, please visit On-Stage.com.
playability and customizable tone, Hybrid Rods let players
explore uncharted drumming territory.

14 Modern Drummer December 2024

Bopworks’ New
Stick Station
Bopworks’ new Stick Station® gives drummers
easy access to their sticks, brushes, shakers,
and more. It puts everything at their fingertips.
Whether you are between songs looking for the
right tool, or in the middle of a song switching
between sticks and brushes? You’ll never
again have to search a sticky floor, desperately
rummage in your stick bag, or hope to retrieve
brushes perched on your floor tom.
The Stick Station attaches easily and quickly
to accommodate 2-3 pairs of drumsticks
plus brushes. The patent pending clips allow
customized positioning while limiting the
vibration coming off the hoop, and it works with
single, double, triple flange, stick saver, die cast,
and super hoops from 8 to18”. It’s strong and
durable. And at just four ounces, it’s lightweight
on your kit, and fits conveniently in most stick
bags.
The Stick Station® by Bopworks is a stunning
modern design paired with innovative
engineering. It comes with the tray, three clips,
and a variety of set up illustrations. Made by
drummers for drummers.
See more at bopworks.net

Modern Drummer December 2024 15

 TD-07 Module Specs
ROLAND VQD106 The TD-07 module that accompanies the VQD106 has fifty
By Jason Mehler available drum kits, twenty of which are Roland presets. There
The Quietest Electronic Set I’ve Ever Played are 143 instruments and four effect types. Other features include
a five-mode coaching function, Metronome, and Bluetooth
In October of 2024, Roland announced an all-new addition to support.
their V-Drum product line. The VQD106 Quiet Design kit claims
The available connectors on the TD-07 include an OUTPUT/
to be the lowest playing noise set in V-Drum history. It comes
PHONES jack, a MIX IN jack, USB computer port, and a DB-25
ready to play with the TD-07 module, and it’s also available as a
trigger input connector.
pad set. For this month’s product close-up, we’ll put the VQD106
to the test. Quiet Features
What’s in the Box If I saw VQD106 at a music store, the thing that would
The VQD106 is a 5-piece kit that includes the TD-07 sound immediately spark my curiosity is the white mesh striking
module, the KDQ-8 Kick Drum Pad with KDB-Q quiet kick beater, area of the cymbal and hi-hat pads. A closer look would reveal
the PDQ-8S Snare Pad, three PDQ-8 Tom Pads, one 12” CYQ-12 the honeycomb pattern of the toms, and I would know that
Crash cymbal pad, one 12” CYQ-12 Ride Cymbal, one 12” CYQ-12 something is different about this specific kit.
Hi-Hat with an FD-9 Hi-Hat control pedal, an NEQ-K quiet base The VQD106 has several features that differ from other
for the kick pedal and an NEQ-H for the hi-hat pedal. All drums Roland V-Drum kits to reduce the decibel level and vibration
mount to the included four-post type rack stand. Also in the it produces. The heavy-duty, carpeted, base boards with
box are drum keys, Velcro cable straps and instruction manuals. rubberized bottoms (NEQ-K and NEQ-H) are designed to sit
Note: You will need to supply your own bass drum pedal and drum under the hi-hat and bass drum pedals, effectively isolating
throne. vibrations from the floor below. The two boards are almost

16 Modern Drummer December 2024

 identical, but it seems the to the rubber honeycomb under the mesh head. When striking,
board for the bass drum you can still hear the pads, but the sound is reduced. Like the
pedal has a much softer cymbal pads, these pads feel great to play.
rubber underneath it than The bass drum pad feels like other mesh-style bass drum
the hi-hat base. pads, but it’s about half as loud. When paired with the NEQ-K
Each PDQ-8 drum pad base and the PDK-Q quiet beater, it’s unquestionably more
has a noise-dampening downstairs neighbor-friendly.
honeycomb rubber insert I turned on the TD-07 to test the kit with the sound module.
under a mesh drum head. The TD-07 sounds are great as usual with the Roland V-Drums. In
Under that, is a hard plastic other reviews, I go into detail about features like coaching mode,
base with vent holes (also Bluetooth connectivity etc., however for this review I wanted
honeycomb pattern) that to focus on how the quiet pads work with the TD-07. I began
allow airflow. flipping through the kit sounds and hitting the drums. First
The CYQ-12 cymbal thing I realized was that I’ve been spoiled by Roland’s higher end
pads are different digital trigger components from (for example) the TD-27KVX2
from Roland’s other and similar because the snare, cymbals, and hi-hat of this kit
cymbal pads in that are less responsive than that. Having said that, the VQD106 still
they feature the plays great and most importantly, it is quiet! The loudest thing
same quiet mesh and on this kit is my squeaky drum throne and spare BD pedal. I have
honeycomb rubber the kit set up in the upstairs room and the difference in volume
playing surface as the and vibration between a standard E-kit and the VQD106 is night
PDQ-8 tom pads. It and day.
has independent bow
and edge triggers, In Conclusion
and the rubber edge The Roland VQD106 was built for a purpose; To create the
supports choking the quietest V-Drum kit available. As far as I can see and hear, they’ve
cymbal. achieved their goal. For anyone looking for a super quiet E-kit
The PDQ-8S snare pad features a soft rubber-covered rim for with solid features, the VQD106 is a great choice. The VQD106
quiet rimshots. An additional cool design feature is that the rim retails for $1,799. Check them out at: https://www.roland.com
is isolated from the pad itself, almost like a bowl surrounding the
inner drum pad. This greatly reduces the chances of crosstalk
between the rim trigger and the snare pad trigger.
The KDQ-8 bass drum pad has a mesh head with a
pillowy material underneath it, and enough striking room to
accommodate a double pedal. The pad housing is decoupled
from the chassis, and there are four legs for stability. Each leg
has a large, soft rubber shoe for further reducing the transfer
of vibration to the floor.

Setting Up the VQD106

The VQD106 components come packaged in two large
boxes. The hardware setup of the VQD106 took about 40
minutes, with most of the time being spent on building the
four-post rack. Though I’m a lefty, I chose to set the drums
up right-handed. The TD-07 sound module mounts at the
top of the outer post using a custom clamp, which doesn’t
leave a lot of options for positioning the module on the rack.
However, the clamp is adjustable, so you can pivot or rotate
the module until you find a comfortable viewing position. The
pads, cymbals and pedals connect to the TD-07 via a custom
wiring harness. The cables in the harness are precisely cut to
the length needed to reach each pad, and the connectors are
clearly labeled to indicate their corresponding pad.

Playing the VQD106

I began to play the kit with the power off to get a feel for
the pad response. When playing the mesh cymbals, I’d say it
feels a little better and more responsive than rubber cymbals.
Ride patterns, bouncing, and crashing all feel good, and the
mesh pad is definitely quieter than other cymbal pads.
The toms and snare have more of a practice pad feel, due

Modern Drummer December 2024 17

 The BrightFlex is a new option for music stand lighting in a
Mighty Bright NuFlex, professional musician setting. The light is very bright and all
focused in one area. The BrightFlex clamp isn’t as strong as the
BrightFlex, DuoFlex, and NuFlex, but it’s vertical design (different from the NuFlex) makes
it perfect for any music stand. The BrightFlex has eight bulbs and
Encore Musician’s Lights. produces 90 lumens. The BrightFlex will take 3.5 hours to charge
and will run for eight hours on the highest setting, 15 hours on
By Mark Griffith medium, and 25 hours on low. It can be charged via USB with
the included four-meter micro-USB cord, and there is a blue light
M ighty Bright Lights have been around for a while,
and any musician or performer that works in a darker
environment has probably used them, I have had one in my stick
on the clamp-battery bank that will show the current battery
level. You can even remove the clamp battery bank to make it
bag for years (just in case.) But Mighty Bright has come out with more convenient for charging or packing. Upon speaking to
a new generation of USB chargeable lights. They are the NuFlex, the Mighty Bright factory, I also learned that it is OK to charge
the DuoFlex, the BrightFlex. The Encore Light is their established the BrightFlex with an iPhone AC plug adapter, although one
music stand light that has been made for several years. In this was not included. Like the NuFlex the silicone gooseneck stays
Product Close-Up we will review and shine a light (sorry) on the exactly where you put it, aiming the light where you want it.
new USB lights and compare the new BrightFlex Musician’s Light There is a clever audience light shield that prevents the audience
with the similar and already established Encore Musician’s Light. from seeing the light when it is on a stand, and the detachable
clip makes it easy to pack up in a small bag. A small carrying
NuFlex bag is included and is a nice touch. This is a very professional
The NuFlex is the smallest of the new models. It has three LED musicians light, the BrightFlex retails for $43.99.
lights and a 10-inch bendable silicone gooseneck. The clamp will
DuoFlex
open to 1.5 inches. The battery is rechargeable via an included
(approximately) 8-inch USB cable, and takes approximately three The DuoFlex has 2 flexible silicone necks that are
hours to fully charge, and there is a small led light that will turn approximately nine inches long, and two light-heads with two
from red to green when it is fully charged. The light can be used LEDs in each, producing 40 lumens of light. This makes it not
on the rechargeable battery power for 5 hours on high or 24 quite as bright as the NuFlex but more than bright enough to
hours on low. Mighty Bright says it can also be powered by AC read the writing on a mixing board (for example) or any non-
power via the micro-USB cable plugging into a typical USB wall backlit device. However, the two light heads make the Duo Flex
AC adapter (like you use on an iPhone.) However, there were no the perfect option if you need light in two separate locations
USB AC plugs included, just the micro-USB charging cord, which on-stage or behind your kit. With the length of each neck, the
worked fine with my computer, although it is short. lights can be aimed nearly 20 inches apart from each other.
Like the NuFlex, the clamp on the DuoFlex is very strong, and
I am very impressed by the silicone gooseneck on the NuFlex
like the other models there isn’t a lot of difference between the
because it really stays in place exactly how you set it, and the
three levels of light. The DuoFlex can run on 3 AAA batteries
clamp is very strong. The three levels of brightness of the light
or an included four-meter micro-USB cord. The AAA batteries
aren’t drastically different, it is rated as producing 35 lumens,
reportedly offer 15 hours of life. This would be a nice light to
but it is bright and portable enough for all-round use on a music
attach to a small mixing board or rack where you need to focus
stand, small trap-accessory table, or mixer. I just kept it on high,
and spread out the light in two places or need a wider field of
and it was more than enough light. The NuFlex retails for $35.99.
light. For onstage or backstage use, the DuoFlex would solve
BrightFlex a lot of problems. There is also a carrying bag included. The
DuoFlex retails for $49.99.

Encore Light
The Encore Light is also called the
Musician’s Light, it has become a music
industry standard. It has six LED’s
providing 55 Lumens and uses the same
style clamp that is found on the DuoFlex
and the NuFlex. However (to me) it didn’t
seem quite as strong. It also doesn’t have
the same vertical design as the perfectly
designed clamp on the BrightFlex. The
gooseneck is also not the same as the
silicone gooseneck that is found on all
the other reviewed models. However,
despite the clamp and neck differences
between this and the other models, the
Encore Light does seem to stay in place
exactly as it is set. This light is not USB
powered and comes with an AC adapter
with a cord length of approximately four
meters. The long cord is a nice touch. It

18 Modern Drummer December 2024

can also run on three AAA batteries. However, the light didn’t huge improvement! But I do like the pouch included with the
seem as bright when it was on battery power as it was when Encore much more.
plugged in. The Encore comes with a nice sturdy carrying pouch
The biggest difference between the two models would be
(not just a cloth bag as with other models,) that packed and
how the power is supplied to the unit. The Encore has a long AC
protected the light much better. I wish this bag also came with
cord, and the BrightFlex has a long USB cord. If you don’t have
the BrightFlex. The Encore retails for $52.99
access to USB power the rechargeable battery on the BrightFlex
Compare and Contrast works better than the AAA batteries on the Encore. However,
through speaking to the Mighty Bright Factory I did learn that
Since both the Encore and the BrightFlex seem to be designed you can use the AC charger plug (not included) from an iPhone
for musicians and music stand uses, and are similarly priced, with the BrightFlex; That way you can use AC power, USB power,
Modern Drummer decided to compare them side by side. or the rechargeable battery power on the BrightFlex, this
The LED lightbulbs used in the Encore seem to give off a convenience is a deal maker for me.
slight blue tint which might (possibly) affect eye fatigue. The The price difference of about 10 bucks between the two
LED lightbulbs in the BrightFlex were brighter and without the models is negligible (to me) if a product works well. And all the
slightly blue tint. This is probably due to a different kind of LED Mighty Bright Lights worked very well. However, my personal
bulb that is being used in each model. preference between the two similar musician-music stand
When the BrightFlex was running on the USB rechargeable models would be the BrightFlex, based on the adaptability of
battery it was brighter than the Encore running on “traditional” the power source, the clamp-charger design, and the lack of
AAA batteries. This difference could be created by the new the blue tint in the light. And this new DuoFlex is going in my
rechargeable USB technology. stick bag right next to the Mighty Bright NuFlex light that I have
already been using for a while.
Although both models had different light head designs, they
both seemed to focus the light downward and on to the page All the Mighty Bright lights are great choices if you need to
very well. Their light easily covers a width of three pages. The create some light in your drumming workspace, on stage, at
more traditional “hooded” design of the light head on the Encore home in your practice space, or while reading charts on a gig or
prevented my eyes from ever accidentally looking directly at the a session. While Mighty Bright has been around for a while, the
LED lights. So, I just tilted the head of the BrightFlex a little more updated versions of these lights are an improvement overall.
inward towards the music. The LED lights seem brighter, and the USB charging is a huge
benefit, and the USB rechargeable batteries are an improvement
I did like the clamp on the BrightFlex much more, it’s deeper over traditional batteries. Check them out at mightybright.com
more vertical design seemed to hold the light in place on the or at a music store near you.
music stand better. And it worked and fit MUCH better on a
professional music stand with a lip around the edge. This is a
 tradition held, Chicago Drum originally started out only offering

A Year in two distinct shell formulas of Maple / Poplar and Mahogany

/ Poplar. These two shells provided a very familiar and classic
sound. However, new offerings were around the corner.

Reviews
By Brian Hill
Chicago Drum has been making steam-bent single ply, solid
shell drums of walnut, cherry, and mahogany that will rival most
contenders. Modern Drummer received a beautiful, single-ply
walnut snare drum to both take us down memory lane and see
how it would work in today’s musical environment. Our review
2024 was a great year for new drum gear, in this year alone drum measured in at 6” x 14” with a quarter inch solid walnut ply
I have reviewed new drum sets, new snare drums, some new shell.
cymbals, and some new thrones. As always, when I review
a product, I really review the product. When I am reviewing
snares, I take them apart and look at the craftsmanship behind
the drum (drilled holes, edges, and other fine details.) With the
cymbals, I take them out on gigs to really see (hear) what the
cymbals can do in a real playing environment. With drum sets,
I tap the shells, and I look at the fine details of a set: mounting
hardware, rims, edges, wood types, and more. Then I play them,
a lot!!!
Writing reviews is in fact a lot of fun, I’m exposed to a lot of
different products and new ideas in the drum world and I get
to bring them into the studio lab and really play with them. No
one is going to send in a product for review that isn’t up to par.
Maybe it’s something that’s a bit different and far from the norm
(or “outside-of-the-box”) and is very much worthy of exploring.
In most cases, the item is going to be something that the
maker is very proud of and wants to share with the drumming
community. While this drum looked great, it was the rich sound that was
I treat each review as something unique and interesting, getting my real attention. The drum is clean! It’s simple! But,
finding out what the “so-what” factor is and why it should somewhat complicated. To older drummers, the sound will seem
matter: why is this product significant? In that, I want to make reminiscent. To younger drummers, it may seem just awesome!
the review interesting enough for the reader to investigate the Walnut will by nature, provide a darker, dryer, lower fundamental
product further on their own, and answer some questions. note: a warm, controlled timbre if you will. In contrast, bent
wood shells and die-cast hoops generally offer a more crisp,
Each review is a “sort of” advertisement for the manufacturer,
brighter note. This drum combines all these characteristics in an
so I just rarely do a “bad review” for anyone. Sometimes I’m
interesting and complex way, and the snare drum simply comes
asked why folks never seem to read a bad review from me. If it’s
to life when struck.
not a good product, I don’t review it. But I will contact and work
with the manufacturer and suggest positive improvements to These drums are not only reminiscent of some of the best
the product if I think that’s the right course. In those cases, I’m wood drums and sounds of that period, but also rival and
looking for positive aspects to accentuate. Most questionable far exceed many of them in musical sound and quality. The
things can be corrected on good products. craftsmanship and attention to detail that goes into a Chicago
Drum creates and emanates from extremely high standards,
In the original reviews printed throughout the year, I go into
which is plainly evident in their drums. I have had the privilege
all these details, this month we will offer a recap of the reviews
to see many drums over the years and this is certainly one of the
of these innovative and wonderful instruments. But you are
more perfect snare drums I’ve seen! This one’s a winner! The list
encouraged to go back and read the longer original reviews for
price is $999.00. Check ‘em out at chicagodrum.com.
more information and details. Here is my 2024 year-end synopsis
of all the new drum gear that I have reviewed in these hallowed
pages of Modern Drummer. Mapex 600 Series Thrones
Ask any seasoned drummer or percussionist what is the
Chicago Drum’s Solid Walnut Snare most important piece of equipment that he owns, and most
drummers will resoundingly say that’s it’s the seat that they sit
My first review of the year was a Chicago Drum Solid Walnut
on. Why? Because sitting while drumming is a four-limb exercise
snare. I first became aware of Jim Moritz and the Chicago Drum
in aerobic balance! Not properly supporting your body, starting
company at the Chicago Drum Show. Year after year I kept an
with your back, is generally a recipe for PAIN!
eye on this company, talking to Jim and tapping his drums. They
always looked and sounded great, so I knew I finally needed to Our friends over at Mapex Drums sent Modern Drummer three
get my hands on one of these drums and do a review for Modern new additions to the popular 600 Series Drum Thrones. The
Drummer. 600 Series originally comprised of only the T670 model, which
featured a thick round vinyl seat and a tube spindle design; and
Chicago Drum has always kept a close association with the
the T660 model, which features a thin round vinyl seat and a
tradition of the Slingerland drums that Jim, his dad, and uncles
threaded spindle base.
made during their time working at the Slingerland factory. As

20 Modern Drummer December 2024

 All 600 Series over” bearing edge design that goes way back in drum design.
models come The edges were perfectly level and lightly hand sanded for a
standard with three beautiful finish. The snare bed was graceful and like the rest of
very stable, double- the shell, finely sanded.
braced legs with The maple wood gave a warm, musical sound that projected
big, non-slip rubber nicely, and the solid wood style of the shell gave the sound a
feet. These new dry, tight, more controlled attack. The note width was medium
Mapex 600 Series wide with a seriously “vintage” vibe that I associate with that
thrones are easy to beautiful round-over style bearing edge. The depth and punch
pack up and despite of this drum was penetrating, and the sensitivity was equally
their strength and good at all volumes.
sturdiness, and they
are extremely light in I would attribute some of the over-all “warmth” and
weight. That’s a real “musicality” to the choice of the brass hardware. Brass has a
plus for the gigging habit of sounding warmer and more musical than many other
player. Anything metals found on drums.
to lighten the load Summit Drums deal in a wide variety of woods and sizes,
while getting the job as well as construction of full drum sets. Gary Posey, the
done right is a plus in craftsman behind Summit Drums, has put a lot of time, trial, and
my book. experience into creating the drums that he would like to play.
After taking the I think these could be drums that you would want to play too.
time to give them a good work out, I’d have to say that I can Summit Drums are extremely well-crafted, handmade drums
recommend these for serious consideration. Affordably priced, that I’ve seen get better each time I come across them. This a
comfort certainly has met endurance! I would use them in a drum company I will continue to keep my eye on. Street Price:
heartbeat! But, if you really want to know more about them, find $750.00. Check ‘em out at summitdrums.myshopify.com/
your local Mapex dealing drum shop and, well… Sit on it! Online
pricing: T680 & T685 $129.00. T675A $109.00 Check ‘em out at Doc Sweeney FOCUS Series Snares:
mapexdrums.com
Future Past!
Summit Drums Pinnacle Series As has been seen previously with their HolloCore Snares, the
folks at Doc Sweeney Drums and Steve Stecher, founder and
Barberton, Ohio, is home to Summit Drums, and its master
Master Drum Builder in particular, have a really bad habit of not
woodworking drum builder, Gary Posey. I first ran across Summit
only thinking outside of the box, but in many cases, rebuilding
Drums while visiting the PA and Delaware Drum Shows. Summit
the box entirely! This time, Steve looked back at this near century
Drums have been exhibiting at these shows for the last several
old idea and focused on improving it for today’s environment,
years and always seemed to get a lot of attention, so I naturally
while adding his own unique twist. Doc Sweeney Drums sent
started checking them out and keeping an eye on them. This
Modern Drummer a brand new Focus Series snare drum for us to,
past year I got the feeling that this was indeed a very serious and
well… Focus on. So, let’s take this one apart and get Focused!
passionate group when comes to drum building. Summit Drums
is a boutique, custom drum shop that is focused on high quality,
single-ply, steam bent drums.
Gary sent Modern Drummer a very cool Birdseye Maple snare
to check out and see what we thought. The drum we received
was a clear coated, 6x14 solid Birdseye Maple shell with hand
crafted quarter-inch reinforcement rings that were beautifully
formed into the shell and bearing edge. I like the “full round-

The Focus Series snare we received was a solid, one-piece

maple stave constructed shell measuring 6” x 14” with a shell
thickness of .375”. The raw stave shell starts out with a wall
thickness of 1.5”, which is then custom milled using a proprietary
CNC technology to create the one-piece, solid “tone flange” style
shell. The shell has a downward sloping 45-degree angle on the
inside of the top side of the shell. The snare side inside bearing

Modern Drummer December 2024 21

 edge is also 45 degrees. the cymbals are made of the B20 alloy. Trinity sent Modern
Drummer an 18” Heavy Holey Crash to “crash-test!” So, let the
The “flange” part of the shell forms the top bearing edge and
whacking, (or crashing) begin.
acts like a reinforcement ring. There is no ring on the bottom,
as I don’t think it would be necessary considering the one-piece Obviously from its name, this is an 18” diameter crash
aspect of the design. cymbal with a bunch of holes! In fact, there are 24 of them.
There are twelve one inch and twelve three quarter inch
When it arrived, the drum was tuned low, so I put it on a
diameter holes arranged in groups of three, each in an
concert stand and started working with it that way. I found
alternating pattern. The gauge of the cymbal is quite thick,
an amazing sensitively and articulation that was a bit dry and
making for a heavy plate. While the bottom side of the cymbal
brought out the sound of the snares and the drum shell. I also
is fully lathed, the top is mostly left in a “raw” state, only the
noticed a musical “drone” sound with a big wide note as you
bell and edge are visually lathed. While visually appealing, this
moved louder through the volume scale. As I moved up to a
combination certainly adds to, and positively affects, the sound
higher tuning, the drum followed me brilliantly! Clean sound
and performance of the crash.
and cut-offs, with no unwanted over-tones. The note-width
tightened as I cranked it up. Loud notes just “popped!” Grace So, it looks cool, but what about the sound? In my opinion,
notes had a very crisp, and defined snare quality. the name of the cymbal understates the versatility of what I
experienced. Its musical qualities are just fantastic and very
But how will this drum work for basic drum set playing? Well,
versatile. I found that it blends perfectly with a wide variety of
amazing! I went up and down the tuning spectrum on the drum
different cymbals and alloys. It also blends in sonically with a
and I was equally blown away by what this drum can do. I really
wide variety of musical styles as well.
liked the sonic separation between grace notes and back-beats!
You can really get rudimental on this drum with power and Every cymbal I tried at the Trinty booth sounded great, but
clarity. I must admit, I am really glad they sent us the 18” Holey Crash
to review because I thought it was a “stand-out” instrument
The guys at Doc Sweeney Drums are just a bit different from
among the crowd. If you’re looking for a high-end, versatile
the normal “drum guys.” Their attention to detail is unsurpassed,
cymbal that’s a bit different, this is one to take a good listen
and their wide ranging and intriguing thinking is unlimited.
to. So, get a stick and give one a good “whack!” You’ll probably
Their workmanship completely raises the bar. This includes the
like it! On-line pricing: $400.00. Check ‘em out: trinitycymbals.
totally cool, Doc Sweeney Drums logo inside each drum, and
com
every drum is signed and dated by Steve Stecher. Check ‘em out
and see if you can find your future in the past! The retail price is Later in the year, Yamaha Drums contacted us to review a
around $950.00 Docsweeneydrums.com few of their newer sets. We happily agreed. First up, was the
Tour Custom Maples, that review was a standard review. Next
Trinity 18” Heavy Holey Crash up, we were sent a giant amount of a Live Custom Hybrid Oak,
and Absolute Hybrid Maple drums. Yamaha asked us if it would
Trinity Cymbals have been around for several years.
be alright to do a “compare and contrast” of these two hybrid
However, the cymbals themselves seem much older than
sets. We happily agreed, because we were also eager to see
the U.S. distribution that brings them to us today. Trinity
and hear what the differences and similarities were in these
Cymbals was officially founded in 2019 in Weaverville, CA, in a
drums. So, we followed up the Tour Custom Maple review with
private music shop. Ownership was swiftly transferred to the
a slightly different type of “compare and contrast” review of the
Canales Music Management Group, the parent company of
Yamaha Live Custom Hybrid Oak, and Absolute Hybrid Maple
Trinity Cymbals. Both companies are headed by CEO, Robert
drums.
Rodriguez, and COO Lynn Edwards, who moved the company
to the East Coast.
Yamaha Tour Custom Maple Shells
Trinity Cymbals are hand-crafted in the Shandong
Yamaha has, to my knowledge, always been known for
Province of China, where the Chinese cymbal smiths have
their Birch drum shells. Birch has a very controlled sound
been perfecting the craft for over 1000 years. This particular
and responds very well in a studio setting. However, it was
collection of craftsmen has been hand-crafting bronze cymbals
only a matter of time for Maple to find its way to the Yamaha
since 1949, using the best metal alloys available. In this case,
woodshop and become as good a choice as anything Yamaha
has ever made. The folks at Yamaha sent Modern Drummer an
entire pallet of their Tour Custom All Maple Shell Drums to run
through the paces. The Tour Custom shells are thin and are
comprised of six plies of maple. There are no reinforcement
rings on the inside as the shells seem to be very solid, so there
is no real need here. The bearing edges are 45 degrees, and
the Tour Custom Line comes in five different satin finishes that,
while providing vivid color, lets you see the grain of the wood
easily.
The Yamaha Tour Custom All Maple Drums are certainly a
serious contender for anyone looking for this style of high-
quality instrument. These are the type of drums that I would
classify as a “modern” sounding drum set. All the drums had
a very clean and musical sound. There were no problems
with unwanted over-tones, they just sing. The drums could

22 Modern Drummer December 2024

 cones. These two shell formulas make the two hybrid kits
considerably different from each other and other traditional
Oak and Maple shells, and all these drums have an incredible
sound. They are musical, warm, earthy, round, sensitive,
projecting, and can be very loud and full. But I think there is
more to this than just the configuration of the shells. I think
some of the other differences in the kits are worth mentioning.
In fact, the differences do create some nice sonic differences
between the two sets.
Obviously, the Oak wood creates a bit lower, warmer, and
somewhat darker and deeper sound than the Maple. However,
I will step out on a limb and say that both these hybrid shell
formulas set these drums apart from any other Oak and Maple
shells in a very positive and impressive way.
Overall, the shells on both kits resonate more than most
drums I have tested. I went around my studio and tested every
be quite loud and clear when I laid into them, and they were mounted tom I have, and I found that even though every
soft and sensitive when needed! They were very easy to tune shell I checked had a certain level of vibrating resonance that
and responded very well to all tunings that I asked from them. I could feel with my hands, the Yamaha drum shells vibrated
The Yamaha Tour Customs are a solid, musical, and cohesive much more. Why? Well, it comes down to the thinking and the
instrument! concept behind the Yamaha hardware.
With high quality drums, it’s sometimes very hard to say
Yamaha Hybrid Oak vs. Hybrid which drum is “better” than another, and even between these
Maple Kits two choices I would have a hard time choosing. If you had
the choice of only one drum kit, either of these two kits could
Yamaha asked Modern Drummer to compare and contrast cover most musical bases. I think it would be up to you to go
two of their new high-end kits and sent over a Hybrid Maple out and play these kits for yourself and see-hear which one you
and a Hybrid Oak shell kit so we could report on what we prefer. If your tastes are anything like mine and you’re a little
thought. Of course, we gladly accepted the assignment, and bit “left-of-center” in a musical sense, the Live Custom Hybrid
Yamaha sent us two, almost identical five-piece kits: a Live Oak will set you apart from the crowd. However, you certainly
Custom Hybrid Oak, and an Absolute Hybrid Maple. In drum can’t go wrong with the Absolute Hybrid Maple drums. These
sounds, I find that the two most important components that are both top-shelf percussive musical instruments in every way.
will affect the sound of any drum are the head, for attack and You won’t lose with either of these choices! They’re different,
over-tones, and the shell, which provides the fundamental but they are Yamaha drums for cryin’ out loud! Check ‘em out at
note and tone. yamahadrums.com
All the shells are seven plies, mostly consisting of either
of Oak or Maple. The main pattern of both shells is three
consistent outer and inner plies of either oak or maple. The It was a joy to play and review all these wonderful
element that qualifies both of these shells as hybrid is the instruments, I can’t wait to see what 2025 brings! If this year-
composition of the inner, or “seventh” ply that falls between end article whets your appetite for more information on any of
the outer three and inner three plies. the reviewed products, you can read the complete reviews in
your 2024 back issues of Modern Drummer, or on the Modern
The Absolute Hybrid Maple shells have a very strong and Drummer Website archive of every issue of Modern Drummer.
hard center ply of an African hardwood known as “Wenge.” Check ‘em out at moderndrummer.com Thanks for reading
The Live Custom Hybrid Oak shells employ a dense “Phenolic” and trusting our product reviews!!
synthetic center ply material that is also used in speaker

Modern Drummer December 2024 23

 retails around $249.00 and can be found at: https://

A Year in cleartunemonitors.com

Melodics - Now for Acoustic Drums

Reviews
By Jason Mehler
Melodics is a subscription-based,
gamified musical instrument learning
app, designed to keep aspiring
musicians engaged in the learning
process. In my review I focused on
2024 was a wild ride for gear reviews! From acoustic and
the new acoustic drum feature, which
electronic drum products and accessories to pro audio and
uses a microphone and machine-
software, I’ve learned a ton, and hopefully managed to share
learning to pair each acoustic drum
my insights in a way that was equal parts fun, unique, and
or cymbal to the internal instruments
informative. Needless to say, reviewing products for Modern
inside the software. Like popular video
Drummer is a dream gig!
games such as Rock Band, Melodics
To provide a unique perspective that informs and inspires lets you play along to popular music,
readers, I feel it is important to think outside the box. When incorporates challenges, levels, and
reviewing a product, I like to channel my inner mad scientist: points to motivate progress.
Why did they use a certain material? What was the thought
When testing the app, I was excited to include my three
process behind this design? How does this product stack up
children to test the “stickiness” of this method of learning. It was
against everything else out there? What would happen if I put it
an overall good experience, especially with my youngest son
in the microwave? (OK, maybe not that last one.)
who really enjoyed the interactivity and kept coming back for
I wear several hats on the Modern Drummer team, which more in the weeks following the experiment. Learn more about
has allowed me to see some of these products in action and Melodics from their website at: https://melodics.com
get direct feedback from the professionals that use them. In
many cases, I’ve introduced a product to touring drummers, if I sE Electronics BL8
thought they would benefit from using it. I don’t play favorites
when it comes to products, as I like to keep an open mind Boundary Microphone
and see both the strong points and the areas for potential
improvement. I’ll leave the rest up to the readers to make an
informed decision.
In 2024, I’ve reviewed fifteen products for Modern Drummer.
Below is a recap of those product reviews with some additional
comments. I encourage you to go back and visit the full articles
in the magazine or on the website to get the complete picture.

CTM CE220 IN-Ear Monitors

I first heard about the affordable CTM CE220 universal In-Ear
Monitors from Tony Escapa, drummer for Ricky Martin, during
the filming of his tour kit rundown in Miami. Though Tony uses
CTM’s premium custom-molded IEMs which have accompanied
many well-known touring and performing musicians around the
world for many years, he spoke very highly about the CE220s, as
he keeps a pair with him as a backup.
After putting the
CE220 IEMs to the I’m in love with the rugged, small condenser sE BL8 boundary
test, I expressed microphone. It is great for kick drums, cajons, pianos, speech,
in my review that conferencing, room micing / ambience, stage floor miking and
the clarity, balance, more. I was provided with both the omni and half-cardioid
and representation versions of this mic for testing.
of the entire I tested both mic versions in the studio using a Yamaha and
frequency range, a Mapex drum kit. The mics were tested in two different mic
was very impressive placements: On the floor in front of each bass drum and inside
at both low and each bass drum with a Kelly Shu mount.
high volumes.
They are also very My takeaway after testing was that the BL8 is one of the best
comfortable for boundary mics available. Sturdy enough for the rigors of the
non-molded IEMs road and priced affordably at $269. You can find more info at:
and extremely https://seelectronics.com/products/bl8
durable. The CTM
CE220 product Xvive PX Personal Mixing System
24 Modern Drummer December 2024
 them in action with several heavy rock drummers.
In my review, I tested an assortment of drumsticks, focusing
on the finish and quality rather than the length and diameters. I
found their product to be well-crafted, balanced, and extremely
durable. Check them out at: https://scorpionpercussion.com/

sE Electronics SE4100
and T1 Microphones

At NAMM 2024, Xvive introduced the PX Personal Mixing

System. The system lets you control 3 channels of audio to feed
your in-ear monitors. It’s a unique system that brings mix control
closer than ever, by clipping directly on to your belt loop. Audio
is sent from the source via the supplied 25ft shielded Category
5 cable.
In my review, I tested the system during a band rehearsal,
sending a sub mix of the band, a click track, and backing tracks
to the three channels on the personal mixer. I was able to easily When sE Electronics contacted me to review the new SE4100
adjust the volume of the individual tracks, and the signal was and T1 Microphones, I immediately dove in researching
clean and powerful, thanks to the high-quality preamp built into the difference between them and their more expensive
the system. counterparts the sE4400 and T2. Turns out they are nearly the
same, except that the SE4100 and T1 are not multi-pattern
If you find yourself wanting a little more control over your
switchable. That is the point though. This feature reduces the
monitor mix, consider the PX Personal Mixing System. Read
price without reducing the quality.
more at: https://xvive.com/
In my review, I tested both mics in a studio environment
Scorpion Percussion Immortal and compared the results. The T1 has a titanium-sputtered
diaphragm, which allows for faster transient response, where
Series Drumsticks the gold-sputtered SE4100 has a warmer relaxed response to
How can you miss the green venom grip of Scorpion transients.
percussion drumsticks! There’s a cool factor with this brand that Both sounded great across the frequency range when used as
just makes me smile. The folks at Scorpion sent me a batch of overhead drum mics, with a slight (barely noticeable) bit of extra
their immortal series drumsticks to review, along with a nice “snappiness” in snare drum response from the T1. Overall, a great
little care package of branded accessories such as sweat bands, product which can be found at: https://www.seelectronics.
ear plugs, and a Scorpion engraved whiskey glass. Way to com
shmooze the reviewer! Luckily, there was no need to persuade
me because the drumsticks were top notch. I had already seen Rock Locks -
Secure Your Tension Rods
The folks at Rock Locks must’ve been busy. I can’t tell you how
many touring drummers I’ve encountered that use and swear
by their product. Rock
Locks are basically a small
plastic chip with a hole in
the center, designed to
keep your drum’s tension
rods from backing out and
affecting the drum’s tuning.
For my review, I was
provided with three
10-packs of Rock Locks in
various sizes. I tested both
the hard and soft versions,
trying to knock them off

Modern Drummer December 2024 25

 the drum, but they performed great, and the drum stayed in some stock DSP afterthought. It’s the real deal,” says Matt.
tune. Check them out at: https://rocklocksusa.com I found the software interface is intuitive and easy to use. The
software sells for $69 and can be found at: https://kitplugins.
Dialtune Snare Drums com/products/kit-drums-connor-denis

Yamaha EAD10
Another older product that I just got my hands on in
2024 is the Yamaha EAD10. It is a simple to use, trigger / mic
combination product designed to make it very easy to get a
great drum sound with minimal setup and expertise. This was a
long time coming for me, as I’ve seen countless other posts and
reviews of this product. One of the more prominent examples
of the EAD10 in action is by the popular YouTuber Jorge Garrido,
known as El Estepario Siberiano.

The most innovative product that I reviewed this year has got
to be Dialtune Snare Drums. If you are not familiar, these snare
drums are tunable using only the two large dials on the side
of the drum. The system not only lets you control the top and
bottom heads independently of one another, it also allows for
rapid head changes, without the use of a drum key.
Though not new for 2024, I felt it was important to get an
update on how the product had progressed in the four years
since the last Modern Drummer review. I spoke to founder
Bryan Bedson who listed at least 10 modifications to the original In my review, I tested the EAD10 in the studio and it nearly
design aimed at improving the product while keeping the price brought me to tears. All the countless hours I had spent in my
competitive. youth, fighting to get a decent drum sound, and this thing
I really dug into this review, removing the parts from the drum achieved it in less than five minutes.
shell and examining the internal mechanisms. These drums are The EAD10 Drum Module has changed the game by allowing
impressive to say the least. I suggest you check them out if you drummers to stay focused on their playing and creativity rather
get a chance: https:// dialtunedrums.com than fighting to get a usable drum sound. The EAD10 Drum
Module Retails for $599. Check it out at: https://usa.yamaha.
KIT Drums – Connor Denis com/Advertisement
This year, KIT plugins out of Nashville, TN released their new
drum platform, KIT Drums with the first library featuring drum Tandem Drums Drops
samples from drummer Connor Denis of Beartooth. Co-Founder
Here’s another product that I’ve seen being used by touring
of KIT Plugins, Matt Kleinman describes software’s goal as
drummers. Tandem Drums Drops are an innovative drum
“bridging the gap” between the simplicity of a mix-ready sample
dampening alternative to sticky gel-style pads. They are made of
library and a robust virtual instrument platform.
thick felt and silicone,
The real meat and potatoes to this product according to Matt weighted with tiny
is the channel strip, which was built with the same code as their metal bearings inside.
award-winning Blackbird Studios channel strips. “It’s not just The drops adhere to
the drum’s tension
rods by applying
pressure to the
silicone tab.
In my review
I tested several
different sizes and
combinations of
Drops on my entire
kit and found that with the right combination of pads, you
can get the perfect amount of dampening while keeping the
drums free from any sticky residue. Grab yours at: https://
tandemdrums.com/

26 Modern Drummer December 2024

 you can mute random notes to keep your
ddrum E-FLEX BT9 Electronic Drums timing in check.
ddrum showcased their E-FLEX BT9 electronic drums at
There is room for improvement with the
NAMM in 2023 as an upgrade to the BT8 model. Some of the
navigation flow and some of the features,
upgrades include larger mesh pads, larger cymbals, 10” mesh
but it can’t hurt to give it a try. Head over to
snare pad to replace
this link for more info: https://camtronome.
the rubber pad, and
com/en/
an extra cymbal and
boom pad.
Sabian Cymbals
In this review I set
up and tested the For the November 2024 issue, the good
entire kit and drum folks at Sabian sent over an assortment of
module. I found 4 new cymbals for review: The Sabian’s 20”
it to be a viable HHX Dominator China, the HHX 22” Wide-Lip
option for beginners China, the 22” HHX Tempest, and the 18” AAX Rocktagon.
or intermediate I got a little emotional when I flipped the HHX Dominator
drummers looking for China over to reveal Dom Famularo’s signature on the inside bell.
a solid practice pad I remember how integral his
kit and creative tool. China cymbals were to his
For an entry-level setup and performance. The
e-kit, you get more intentionally uneven edges
components than you would expect for the retail price of $649. of the HHX Dominator are
Read more at: https://www.ddrum.com achieved through a special
lathing process. Dom was
The ddrum NIO Percussion Pad an expressive and explosive
player, striking his China
Last month I reviewed the ddrum NIO Percussion Pad. It’s the
with a powerful up/down
one with the nine distinct red rubber pads and backlit LCD, that
motion, which would warp
keeps popping up in your
the cymbal over time, giving
Google ads and makes
it a dark trashy tone.
you wonder if Google
is listening to your Available for a limited
conversations. Or maybe time as a Vault Drop, the HHX 22” Wide-Lip China is an
that’s just me. impressively large cymbal with a wider range of tones than the
dominator. It has a 5.5-inch lip that spans half of the cymbal,
Mike at ddrum was
which sounds like a mix between a ride and a China.
gracious enough to
provide me with a unit for Next, we have the 22” HHX Tempest. Formerly a limited Vault
testing. I like the look of Drop, this cymbal has now graduated to Sabian’s permanent
the NIO and the sounds catalog of cymbal offerings. It is a multi-application cymbal,
are pretty solid. Granted, suitable for orchestra or drum set, due to its wide dynamic range
this is another entry-level drum pad, so I’m not expecting it to and excellent response using mallets or sticks. When playing ride
outshine any of the higher-end percussion pads out there. patterns on the hammered bow section, the cymbal is very easy
to control. Even an occasional crash returns to a stable volume
Where this pad falls short is the brain itself. Navigating the
quickly.
menu on the unit is not very intuitive. You have to use trial and
error to memorize the steps to accomplish simple tasks and Finally, the coolest looking cymbal of the bunch is the new
some features you’ll just give up on. AAX 18” Rocktagon. This looks similar to the Rocktagon of the
past, but it isn’t. It has a thicker 6” raw bell and pinpoint lathing.
Despite the clunky menu, I do think the pad is worth having
The body of the cymbal is thinner than its predecessor. Striking
as a fun little jam pad. It feels nice to play and the ddrum kit
the cymbal produces a sound that I would describe as a dark
sounds are pleasing. You can pick one up for around $369-$399.
crash, possessed by the ghost of a China cymbal. You can’t see it,
Read more about it at: https://www.ddrum.com/product-
but you know it’s there. Dive deeper into these Sabian offerings
ddnio/
at: https://sabian.com/
Camtronome Conclusion
Camtronome is an advanced metronome with several unique
capabilities such as simultaneous video recording, advanced As I sift through these past articles and gather notes for this
practice mode, custom metronome recording and playlists, review recap, I’m reminded of the incredible effort that my
downloadable loops and more. There is a gamification element colleagues pour into creating this beloved magazine month
that rewards you for time spent practicing to the metronome. to month. It’s humbling to be a part of a team so dedicated
to keeping the drumming community informed and inspired.
I found the metronome features fairly easy to use, which Through these reviews, I hope to spotlight the innovative
in itself is worth downloading just to play around with it. My products and companies that are shaping the future of our
favorite little feature is in the advanced practice mode where industry. See you in 2025!

Modern Drummer December 2024 27

 Photos by Chris Wagner

By Mark Griffith

28 Modern Drummer December 2024

B
ill Ward created a style of drumming interview, Bill explains his drumming and
within the music of Black Sabbath. “ÕÈV>ˆ˜yÕi˜ViÃ]>˜`Ü iÀiÌ iÞV>“i
We’re not going to get into the from. He is too humble to say what hard
musical differences between heavy metal rock, metal, and rock drummers around
and hard rock in this article. Call it what the world already know. He created a style
you want… but that slow, sludgy, titanic, of drumming that can be imitated but will
groove that could explode into a frenzy at never be duplicated. And as a founding
any time is signature and distinctively Bill member of Black Sabbath, he helped
Ward. His drumming has a unique swing, create an approach to rock drumming that
a patience, and a reckless abandon that is still reverberating in the minds of young
no one else’s drumming has. And in this drummers today.

Modern Drummer December 2024 29

 Whether it is the sludge of the song “Black Sabbath,” the swing that we had gotten ourselves into trouble. How much trouble? I
of “Electric Funeral,” his featured solo “Rat Salad,” Zappa’s favorite didn’t know. But the one thing I did know, was that it felt really,
“Supernaut,” the funky “The Wizard,” the legendary bass drums really, really, good on the inside.
at the beginning of “Iron Man,” the bombast of “Paranoid” or the
I didn’t share my feelings with Tony, Geezer, and Ozzy at the
left-hand independence of “Children of the Grave.” The drum
time. I kept my feelings private. But it was like getting all the
parts (and the music) of Black Sabbath started something that
Christmas presents that you’ve ever wanted under the tree, all
has never stopped, and Bill’s drumming was at the center of
at the same time. I remember leaving the practice area, we were
that sound. At 76 years old, Bill Ward still has that same groove,
all walking outside at the
humility, and drive. He
same time, and feeling the
has led his own bands What was it like to walk out the cold Birmingham wind. I
since the 80s and has rehearsal after creating the song “Black remember wrapping myself
ridden the roller coaster Sabbath”? I was 19 years old at the time
up to keep warm, but I still
of rock and roll. This ride
and I knew that we had gotten ourselves held on to my thoughts. I
has had its bumps and
wouldn’t let my thoughts
Bill has some bruises. into trouble.
be known. It took a couple
But the ride has also
of days for me to say
given him a great deal
exactly what I felt about the
of wisdom that he is
song “Black Sabbath.” I had
eager to share. Bill Ward
absolutely no idea what
is a drumming creator,
was coming. I thought that
a musical legend, a wise
we were going to be the
old master, a humble
biggest flop in the world,
survivor, and a kick ass
and that we were going to
drummer! He is also the
get our asses kicked to the
2024 inductee, and the
streets. I had no idea what
newest member of the
we were in for, and at the
Modern Drummer Hall of
same time, I was so excited!
Fame.
I think all of us felt like that.
MD: For this interview But by the second or third
let’s forget about the day, I think we were all
discussion about the absolutely ecstatic. When
differences between we first wrote that first
heavy metal and song, we looked around
hard rock music and at each other and there
drumming. When Black were exclamations of,
Sabbath first played “Wow that’s fantastic, this is
together in 1968, before great!” But in my inner self
the band even had the I felt like we were about to
name Black Sabbath, open a load of trouble for
I’m sure you didn’t ourselves, and at the same
realize that you were time I felt like we were
creating an entirely opening a musical door
new style of music and that I’d never ever dreamed
drumming, at first. But of opening, and I had no
could you recognize idea what was on the other
that you were creating side. It was exciting as
something important, hell, and it was absolutely
and something that incredible.
would spawn thousands
MD: When did you start
of bands in the 56 years
playing drums?
since you guys created
it? Very few people are lucky enough to ever have that feeling. BW: I was maybe four and my interest in the drums started
because my family had veteran parties every Saturday night in
BW: Firstly, it’s an honor. I treat it like I’ve been given like the
our house. Everyone was invited, all my brothers and uncles,
greatest gift on earth (besides my children, my wife, and the
and all the veterans who had been in the British Army or the
drums.) I treat it honorably, so when I meet up with any of the
Air Force. These parties took place on Saturday nights and on
younger musicians from the last 56 years, I treat them with the
Sunday mornings when everybody was still sleeping, drunk, or
same respect and honor as I would if I was picking up a Howlin’
hungover, I would sneak down to the living room and start to
Wolf record. I treat Howlin’ Wolf’s music with grace, honor, and
explore the drum set that was still in the living room from the
respect, because there was so much involved in creating that
party the night before. I would tap on the snare drum; it took me
music.
a while to learn what the hi-hats were for. It was an unbelievable
What was it like to walk out the rehearsal after creating the whirlwind of self-discovery
song “Black Sabbath”? I was 19 years old at the time and I knew
MD: What is the earliest music that you heard, and that

30 Modern Drummer December 2024

influenced or had an impact on you? learned it. There was a little café at the intersection of Litchfield
BW: My family didn’t have a TV at the time, so everything we Road and Grosvenor Road, and I would go there to hear Chuck
heard came through the radio. That’s where I heard the New Berry and Little Richard on the jukebox. My entire world was
Orleans funeral bands. I was just fascinated by their time and inside that jukebox. When I heard the flip around on the drums
their ability to convey the sadness and the gladness that comes in Little Richard’s “Good Golly Miss Molly” I wondered, “What the
heck is that?”
I became really fascinated by those huge I still enjoyed big band music and I discovered
bass drums that they carried over their Buddy Rich when I was about 12. By that time, Buddy
shoulders and the syncopated rhythms had his own bands, and we had a TV in our house, so
that the bass drums played. we started watching TV and that’s when I saw Buddy.
I thought, “Oh my God!” because you didn’t hear
anything like that in early rock’n’roll.
with a funeral. Many funerals are a celebration of life, and I loved
I grew up with a bunch of young drummer friends and
the way that those bands would play the idea of a celebration
we all learned from each other. One of my good friends was
by playing happy notes, then then they would play sad notes
Jim Capaldi (Traffic.) Pete York, from the Spencer Davis band,
and sounds. I thought, “My God they’re playing every emotion
became a very good friend, as did Mick Kellie from Spooky
possible.” I didn’t realize that when I was three, four, or maybe
Tooth. Mickey Evans from the BBC Light Orchestra turned me on
five years old, but that’s what attracted me to the New Orleans
to listening to Ed Thigpen’s hi-hat work. Mick was always raving
jazz music. I became really fascinated by those huge bass drums
about different jazz drummers. And of course, the dynamic John
that they carried over their shoulders and the syncopated
Bonham and I used to hang out a lot, because we played a lot of
rhythms that the bass drums played.
the same gigs. Eventually Cozy Powell, John, and I would start
MD: What came after that? hanging out together.
BW: The Boys Brigade Marching Bands. When I was a child I MD: When Bonham, Cozy, and you used to hang out what would
would listen to the Boys Brigade, which was a group of young you talk about?
men and women that would march along the streets in Aston
BW: John Bonham and I met when I was 15, and Cozy Powell
(where I was born,) they would be playing marching band music
and I met when I was 18. The three of us became very close, and
which was fantastic. As a child, when they marched by our
we would talk about drums all the time. Cozy would talk about
house, I would start to play along with them on the headboard
hearing a new drum lick from one of our heroes like Joe Morello,
of my bed, then I would run downstairs and open the open the
and we would try to figure it out. We would talk about a new
front door and they would be marching past our front door. That
snare drum that had just come out, and we would all go ape.
was such a thrill for a child of four or five years old.
Cozy and John would talk about fast cars, but I didn’t have any
I was born in 1948, and after World War 2 there was a lot of interest in that. Cozy and John would always talk about Buddy,
patriotism in Great Britain and the UK. There were a lot of fans they were huge Buddy Rich fans, while I would always talk about
of American big band jazz. The most popular band on the radio Krupa, he was my guy. I liked Krupa’s looseness, I don’t want this
at that time was Glenn Miller. He was a wartime hero in Great to sound pretentious, but I think Krupa and I listened to music
Britain, and Glenn Miller’s “Moonlight Serenade” was a big hit. the same way. But hearing Buddy play “Caravan” or with one of
I was four or five years old, and that song was the holy grail. the many jazz singers he played with, could set up any drummer
Throughout the 50s I was hearing a lot of big band jazz, and with things to learn and practice for the next 500 years.
the person that made the biggest impression was Gene Krupa.
One of the best drummers around was a drummer called
Krupa has been my mentor for my entire life.
“Pakistani Phil” because he was from Pakistan. I don’t want that
What first brought me to Gene’s playing was his flamboyance. to sound prejudiced or racist today, but that was how we all
Of course, I didn’t know he was flamboyant when I was five years knew him. Another drummer named Charlie Grimmer was from
old, I just I just loved what he did with the floor
toms. When I was young, I was really drawn in by
Throughout the 50s I was hearing a lot of
Krupa’s floor toms on Benny Goodman’s “Sing, Sing,
Sing.” There was just something about it. By the big band jazz, and the person that made the
time I was about six or seven years old I discovered biggest impression was Gene Krupa. Krupa
the floor tom part on “Sing, Sing, Sing” was actually has been my mentor for my entire life.
attainable, and I was able to get a little bit of that
feel. I can still hear those floor toms today.
MD: All these years later, I can still hear that sense of swing and Greece, and there was a Jamaican drummer whose name I can’t
those rumbling floor toms in your playing. remember that was a friend of mine. I was brought up around
drummers from many different nationalities and we were all
BW: Thank you very much, that means a lot. always trading licks together.
MD: Did you ever get to meet Gene or hear him play live? “Pakistani Phil” would play that cool triplet lick and groove
BW: Unfortunately, no. that Bonham made infamous in “Stairway to Heaven” and he
would ask us, “Hey can you play this?” And none of us could
MD: Where did your tastes progress after discovering Krupa? play it. He was really good. That was the first time I heard that
BW: A lot of Rock and Roll musicians and skiffle-music. Elvis triplet lick. Of course, John learned it and played it all the time.
Presley came along when I was six or seven and my attitude Mick Kellie played it all the time too. Everybody knew that lick,
complete changed. I practiced “Peggy Sue” for six months until I Bonham made it completely famous five years later in “Stairway

Modern Drummer December 2024 31

 Elvis Presley came along when I jazz drummer that I was particularly fond of, and I asked if I
was six or seven and my attitude could take some drum lessons. Those were my first lessons.
By that time, I had already been in and out of Sabbath for a
complete changed. I practiced “Peggy long time, and I had played in some blues bands early on, so I
Sue” for six months until I learned it. thought I might need to take some lessons. I was about 40 years
to Heaven” right before the lyrics, “And as we wind on down the old. Unfortunately, I can’t remember the drummer’s name, but
road…” But Bonham used to slide that lick in all the time. But those lessons really helped.
Pakistani Phil was the first guy that we all heard play it. In fact, MD: With drummers like Jim Capaldi and Pete York as friends
everybody could learn how to play it except me! It took me ages and drumming peers, what did you learn from them?
to get it, and I finally got it when I was around 18 or 19. I would
BW: Back in those days, we were all doing jams at the Big Bear
later play it quite often live on songs like “War Pigs.” There were
Follies that was organized by Jim Simpson. Pete York was a good
some spots in “War Pigs” that were just begging for that lick, and
friend of Jim’s, so I met Pete through Jim and we got on really
there was plenty of room for that kind of stuff, and it fit perfect
well. I love Pete’s playing with Spencer Davis. When we would
there when we played it live. I am so lucky to have been brought
all jam together, Pete played a solo and then I played a solo,
up with a large circle of close drumming friends.
we were really playing for each other. He was really advanced
MD: I always heard a strong ingredient of improvisation in and more technical than me, but he gave me the benefit of the
Black Sabbath, did that come from a jazz background, or was it doubt and led me on.
something else?
With Capaldi, I was in a band at the time called The Rest, but I
BW: Yes, that came from our love of jazz and improvisation. I would go and watch (the band) Deep Feeling, which was the
don’t want to sound big headed, but we could improvise on band that Jim Capaldi was playing in before Traffic. I didn’t know
anything, and most of the Sabbath music was jazz based, you this at the time, but Jim was going to be leaving Deep Feeling
can hear that all over Sabbath records. With Sabbath I never and joining Traffic. I always used to sit next to him and watch
played the same thing twice, we would jam and improvise every him play, he was amazing. You know how drummers take care
night. I would jam those licks in when we played live. I played of drummers; I still do it today. I always get a seat next to Dave
whatever I was picking up off the streets or from when I was just Lombardo or Gene Hoglan so I can watch them play. Well, I did
jamming with Mick and the boys. the same thing with Jim Capaldi, and one night Jim says to me,
MD: That what makes music and drumming so wonderful. It is “It’s all yours, you can play drums in Deep Feeling, I’m leaving
an international, multi-cultural, and multi-racial artform, there the band.” I was only 16 and I felt a huge weight of responsibility,
are no boundaries. Drumming comes from everywhere, and it they had some good players in that band. Many of the guys in
exists everywhere. that band left to form Traffic and Spooky Tooth, and there was
Jim giving me the gig. I’m thinking to myself, Jim just gave me
BW: That is very well said, I totally agree. the drum chair in Deep Feeling, I can’t do this! I just fell apart; it
MD: When you were young and self- was too much. I was 16 and learning to play drum parts from The
discovering the drums, did you ever take
drum lessons?
And of course, the dynamic John Bonham and
I used to hang out a lot, because we played a
BW: No, however after I got sober and had
been sober a few years, I went to an American lot of the same gigs. Eventually Cozy Powell,
John, and I would start hanging out

Hollies. The music of Deep Feeling was so up the road, down the
street, over the hill and far away, from where I was.
MD: He dropped you into the deep end, sometimes that’s how
we have to learn.
BW: Five years later, on Black Sabbath’s first trip to the United
States, we were going to New York on the same plane as Traffic
and (of course) Capaldi was sitting in the seat in front of me and
he turned around and said, “You guys are gonna be just great!”
I don’t even think he remembered that he gave me the seat
playing in Deep Feeling. I miss him all the time.
MD: Deep Feeling was an early and forgotten fantastic British
proto-prog-psychedelic band started by John Swail. That band
had a lot of legendary musicians in it at one time or another. Did
you ever record with Deep Feeling?
BW: No, it kind of fell apart when three guys left that band to
join Traffic and Spooky Tooth, but all of the musicians that came
through that band were a close family.
MD: Was Clive Bunker an influence on you, you two always
seemed to be cut from the same cloth to me.

32 Modern Drummer December 2024

BW: The first time I met Clive Bunker was before we became Aynsley Dunbar taught me. I admired Aynsley Dunbar in the
Black Sabbath, then we became Black Sabbath and went on to same way I admired Jon Hiseman.
open for Jethro Tull on some support gigs. Clive and I got on MD: Since you brought up cymbal placement, I want to ask
like a house on fire, he’s quite a drummer! I stole (or should I say, you something. So many of the English drummers (including
tried to steal) a lot of licks from Clive Bunker. I learned from all my yourself ) would set up a ride and a crash on the right side
teachers, all the people I’ve mentioned, they are all my teachers. without setting up a crash on the left. I never got a chance to
ask Charlie Watts about it because he did it too. Where did that
hearing Buddy play “Caravan” or come from?
with one of the many jazz singers BW: I don’t know, that’s a good question. I just put my crash-
he played with, could set up any ride in the center and my crashes on the top and to the right.
I just did it. I could work the toms and crashes together over
drummer with things to learn and
on that side, you have got more power and you can drive with
practice for the next 500 years. both cymbals on the right. Although in saying that, I used to
have alternate timpani to the left. I used to play the timpani on
MD: In a recent interview New Orleans great Johnny Vidacovich “Children of the Grave” with my left hand all the intricate stuff
said to me, “Once you start working and playing, EVERYBODY was done on my left side. Now that I think about it, and giving
becomes your teacher.” credit where credit is due, having both cymbals on the right
BW: I like that, it’s very true. Another teacher of mine was might have been Ginger Baker influenced. He might have seen
Aynsley Dunbar. On one occasion he lightly balled me out. the big band drummers set up like that.
We had a couple of hit records by then, and Masters of Reality MD: Or maybe Phil Seamen?
had come out and we were playing a show. After the gig, I see
Dunbar and he walked up to me. Back then I used to hold my BW: It’s interesting that you mentioned that.
hands way up and crash with these big arm movements because MD: A lot of the English drummers also sat very high; do you
it looked cool. But Aynsley took me to the side and said, “If you know where that came from?
keep doing that your arms are gonna fall off within the next
year.” I listened to him very carefully because I BW: That’s another thing Aynsley was talking about. I lowered
admired him incredibly. At that point, I pulled
myself back and stopped playing on the top
I don’t want to sound big headed, but we could
of the cymbals which was more rock’n’roll improvise on anything, and most of the Sabbath
and better for TV. I pulled back and I started music was jazz based, you can hear that all
playing from the shoulder. That’s what over Sabbath records.

my cymbals because Dunbar suggested that I

do it before my arms fell off. All that high cymbal
stuff was showmanship. I think sitting high might
have come out of Moonie (Keith Moon.) But at
the same, the kind of strength that you needed to
play “War Pigs” live with Black Sabbath, you had
to hit from the shoulder. You can’t play a whole
show with your arms stretched out. That’s why
I moved my stuff to shoulder high. You’ve really
got to be able to push. My rolls and my cymbal
work, everything had to be crashed into it, you’ve
got to have power behind all that stuff, and I still
play like that today.
MD: What did you learn from Jon Hiseman?
BW: Discipline. He was somebody to admire,
somebody to look up to, somebody to watch and
learn from (if you were quick enough!) He was
playing stuff that wasn’t even in the book, and
probably never went into the book to be honest.
A great drummer!
MD: In so many English drum and bass
combinations we hear bassists and drummers
that both play a lot. We heard it with Moonie and
John Entwistle, Ginger and Jack Bruce, and with
you and Geezer Butler. How could both of you
play as much as you did, never get in each other’s
way, and not step on each other’s toes?
BW: It’s a simple remedy, when the bassist plays

Modern Drummer December 2024 33

 fast you play slow, and when you go fast the bassist will go together. We were playing early rock’n’roll and by the time we
slow, that’s it. When I knew that Geezer was going to be moving reached 18 or 19 years old we had really developed together,
around, I simplified. For instance, on the song “After Forever,” and we were playing a lot more Blues. After all those years of
at the beginning there is a lot of bass work. If you listen to the playing together I knew if he’s going to be busy, I’m going to
drums, I’m playing really simple, I’m just playing “ones” (quarter lay back, it’s the same process as I described with Geezer. Tony
notes.) He’s doing all the work. Then when he goes really simple, and I picked up a lot of historical musical language together. For
instance, when we wrote “Johnny Blade” Tony played the first
notes and I was I was sitting in the seats in the theater, as soon
Clive and I got on like a house on as I heard him play those guitar notes, I just ran to the stage
fire, he’s quite a drummer! I stole (or because I knew what came next. What comes next is the is that
should I say, tried to steal) a lot of older rock and roll rat a tat tat thing that I did on the drums, and
licks from Clive Bunker. it fit perfectly. If you listen to the beginning of “Johnny Blade”
it’s a song that’s built out of the history of me and Tony playing
rock’n’roll, that’s a rock’n’roll guitar lick being met by a rock’n’roll
I’m doing all the work and he’s just playing nice big donuts drummer, that’s how that tune first came together.
(whole notes) and I could go in and out of the donuts, it was MD: I love that tune, you sound like Mitch Mitchell on that tune,
that simple. I had to support Geezer’s turn. It’s about listening, it Never Say Die might be my favorite Sabbath record, you sound
just comes back to ears, you gotta have big ears, you really must great on that entire record.
listen, you can’t just do whatever you want to do.
BW: Tony and I had a jazz history together as well; he was
I knew the absolutely brilliant John Entwistle and I also played brought up on Django Reinhardt. He loved Django, if we got
with Jack Bruce. And just by knowing John and Jack and seeing together right now, the first thing we would play is jazz. Jazz
the kind of people that they were, I could see how they moved was everywhere in Black Sabbath. I don’t want it to sound like
and flowed, I could feel how we would make room for each I’m saying that Black Sabbath was just a Tony Iommi and Bill
other. You could feel it, it was a courtesy that came from within. Ward thing, but we were used to doing those things. Sometimes
Through the last several years with my own bands, I have Tony would play four bars of everything, and I’d say, “What I’m
worked with several wonderful bass players, and it’s the same supposed to do with this?” I’d have to figure out what I was
thing, we have an ebb and a flow together. One of my favorite gonna do with four bars of everything. I’d try to find different
bass players today (who is also a great drummer) is Brian Tichy. beats to fit and keep it going, whatever would work, you know?
When Brian and I work together there’s something absolutely They would give me because four or eight bars and I’d have to
magical. Brian has played bass on a number of my new songs, try and find a back beat or a bass drum rhythm that would work.
and we jam and are intuitive with each other, we’re on fire. That process made me a much better drummer.
There’s just something that makes it happen, it’s the same MD: What are some of the Black Sabbath tunes that you think let
relationship that I have with Tony. I listen to him, and I try to us hear your best drumming?
work things in and around what he’s playing. That’s something
that Mick Kellie taught me, he said “Bill you have to listen, you BW: Probably because it’s largely unheard, one of my favorite
gotta listen to everything that’s going on.” tunes is “Into the Void.” The reason I’m picking that song is
because as a drummer I had to hold that track down. Every time
It’s about listening, it just comes we would go round eight bars, I would have to pull it all back.
It was like having to pull back a charging horse, every four or
back to ears, you gotta have big ears, eight bars I would have to pull it down deliberately. Otherwise, it
you really must listen, you can’t would go ahead. For me, the key to “Into the Void” was watching
just do whatever you want to do. Tony’s right foot. Tony’s right foot never alters the time, his right
foot is the best timekeeper in the world. I would look at Tony’s
right foot and stay on the one with his foot, not with his playing.
MD: I think you just mentioned a great word that explains it, and That track always wanted to go faster and my job was to pull it
that is “courtesy.” That’s an interesting explanation, you’re just back, and I did. Every eight bars I just pulled it down and kept it
affording the bassist the courtesy to find his space. You and Tony down, that’s the reason why I like that track, it’s because there’s a
Iommi have a really unique hookup can you explain how that lot of work involved in playing it.
developed?
I love “Children of the Grave” because of the independence
BW: I just moved around him and went in and out of his guitar involved in playing it. I am using my hands and feet in
parts. When I found out what we were going to be doing completely different ways from each other. My right hand is
and whatever Tony’s part might be, I would work on different doing something completely different from my left hand, and
parts with him. We spent a lot of time figuring out what might my feet are doing something completely different from my
work and what might not work. I spent more time playing and hands. Those are some of my favorite tracks. I love all of them,
developing parts with Tony than I did with Geezer and Ozzy. but those are the ones that come to mind for the sake of this
MD: Did you and Tony ever play duets (just drums and guitar)? conversation.
BW: Yes, a lot, very much so! MD: Can you tell me how you came up with the drumming on
“War Pigs”?
MD: Can you talk about how that developed and how it
developed into Black Sabbath’s sound? BW: I just went with what was good for the song. I wasn’t even
aware that I was playing some jazz stuff most of the time, I
BW: Tony and I have been playing together since we were 15,
didn’t know what I was playing. When I play drums, I try to play
we go back the furthest. That’s the way that we learned to play

34 Modern Drummer December 2024

orchestrations, I try to play colorfully, I play whatever I think will BW: We were getting louder, and we were becoming more
really enhance the rest of the guys. If I know that Tony’s going intricate. We were playing “Children of the Grave” and
to play loud chord then I’m going to play loud, and I’m going “Cornucopia” live, and I needed more of this and more of that
to go with that until we go somewhere else. Most everything for those songs. So, I gradually built a bigger and bigger kit with
that I do is to play very colorfully. A few days ago, I was writing more and more stuff. I did that to play at that volume and to just
an orchestral piece, and I’m writing based on what sounds to play that music. I knew that if we were going to play “Sabbath,
good. I never think about what “should” happen musically, I Bloody Sabbath” live, I’d need four more toms and they were
actually despise the word “should.” I think in terms of where does going to need to be deep and loud.
something want to go next, musically?
MD: What is your favorite Black Sabbath record?
BW: Masters of Reality. I consider that to be the third of a great
I never think about what “should”
series of albums. It was our third album, and they came out of us
happen musically, I actually despise like bam! bam!! BAM!!! There was just something about Masters
the word “should.” I think in terms of Reality for me. I don’t know if it was the way we were, or the
of where does something want to go way that the world had changed, but there was something
next, musically? that just fit. We had slightly better equipment, and it may be
me selfishly thinking that because I had more microphones for
my drums than first record, that Masters of Reality was better.
MD: On the other hand, your playing on “The Wizard” is very
It could have been any of that kind of stuff. I had more aplomb
funky. Do you think that can be traced back to your early interest
about me by the third record. We had already done American,
in the New Orleans bass drummers?
Australian, and European tours, and at 23 and 24 years old, we
BW: I think so. It’s probably because of everything that I’ve were already “music veterans” and completely different from
learned from Elvis Presley, early rock’n’roll, and the New Orleans who we were when we were teenagers. I think the reason I like
bands, and from every song that I’ve ever listened to. I’m Masters of Reality is a combination of all that. It all happened
influenced by everything, all that stuff turned me into whoever very quickly.
I am today.
MD: And when it all comes that quickly, it can be problematic.
MD: Who did you first hear playing double bass drums?
BW: It was for me for sure. But Masters of Reality is a better
BW: Louie Bellson, I even went to Louie’s clinics. At his clinics he produced record. I can hear our maturity, and I like the fact that
taught you how to breathe while playing
sustained double bass parts. I listened and I’ve kind of grown from being a drummer to being
watched his control of the bass drums a writer and writing orchestrations. I write horn
and learned how to breathe. If Sabbath sections, choir parts, strings—I’m embracing
was playing “Dirty Woman” I knew I would
have to breathe just like Louie Bellson
everything I loved as a child.
taught me to breathe. Playing “Dirty
Woman” live could turn into 10 minutes
of playing the double bass drums
very loudly, pushing the band, and
sustaining that energy, so you better
believe I was gonna breathe like Louie
Bellson was teaching in his drum
classes.
MD: When you play double bass drums,
do you always play right foot lead?
BW: Yes.
MD: But you start a lot of your fills with
your left hand, are you a lefty?
BW: No, I’m a righty.
MD: So where did that come from?
BW: It’s beats the hell out of me, I have
no idea why I started doing that. It’s like
that timpani thing I play on “Children
of the Grave.” It was overdubbed in the
studio but live I play all that with my
left hand independently of whatever
else I’m playing in the beat.
MD: How did some of those wild
looking drum sets come together, it
often looked like you were just piecing
together a few different kits?

Modern Drummer December 2024 35

 we had not deserted anything from the first album. We were still BW: I love them too! I’m just so open minded to any kind of
of the same crust. There are many things that I like about that music and drumming from any country an any nationality, it
record! doesn’t make any difference to me whatsoever.
MD: You have had your own band together since the 80s and MD: Did you get much chance to compose in Sabbath?
have released some great CD’s and some great songs directly to BW: I got lots of chances, but I wrote all the little bits that no one
YouTube. can hear. But that’s what we drummers tend to do. But these
days I am writing everything, and I love it. I’ve written
I encourage people to make mistakes, about 500 songs by now, and I like about 200 of them. I
they are an important part of life. It’s so am working very hard at becoming a better musician.
important to play past our mistakes. MD: And what does becoming a better musician mean
to you?
BW: Being able to listen, that’s the first thing. The second
BW: I started my own band after I got sober, and I have been is not being afraid of myself, and not being afraid of the person
sober for 41 years. I started putting my own band together inside me that says you can’t do something. I’ve learned to
in 1985, I tried to do it in 80-81-82 and that didn’t work out ignore that person and say, “Yes, I can!” I’m overcoming being
because I was still drinking. In 82-83 I did Born Again with the afraid to ask people in other bands to come and play on my
Sab’s, and in 85 I came back and started writing things of my records. And I’ve done that, today I’ve got really good players
own. For the last 10 years, Keith Lynch has played lead guitar, that I admire playing on my records, and they become our
and I’ve got a several bass players that have played with, and records, not my records.
I work on and off with Brian Tichy as a bassist, but I’ve worked MD: Where do you think those fears come from?
with a lot of different musicians.
BW: That original fear came from of my alcoholism and from low
MD: You often bring in other drummers like Gene Hoglan, Dave self-esteem. I have always been afraid to step out. Remember
Lombardo, and others to play on a few tracks, what do you look when Jim Capaldi gave me the drum chair in Deep Feeling, I
for in a drummer? immediately thought I couldn’t do it. When I’m teaching younger
musicians and drummers, I go through all of this with
What I’ve learned is I must embrace them. Not to be afraid, overcoming fear, I tell them what
myself, and I have to give myself back anticipatory fear is, fear of self-love, low self-esteem…
to me. I’ve learned how to do that; I’ve We go through all those kinds of things. I’m trying to
build a clinic for children so that they can understand
learned how to give myself back to me. and build snare drums, and I’m gonna invite some of my
friends to teach them.
BW: If I’ve got a song that I think someone else can play MD: I think the fear of making mistakes is a huge problem with
better than me, I’ll ask them to play it. One of the things (with people today, people are afraid to sound human.
drumming) that you need to learn is humility. If I can hear
another drummer playing something better than I can, you bet BW: I encourage people to make mistakes, they are an important
your ass I’m going to get that guy and ask him to play the song. part of life. It’s so important to play past our mistakes.
As a writer, which is where I am now, I look at what best serves MD: One of my lifelong mantras is something that Tony Williams
the song, just like when I was in Sabbath. What best serves the told me, he told me, “I don’t like musicians who don’t make
song? I’ve kind of grown from being a drummer to being a writer mistakes, they’re not trying hard enough.”
and writing orchestrations. I write horn sections, choir parts,
BW: That’s nice.
strings… I’m embracing everything I loved as a child. On this
newest album that I’m working on right now, there’s two tracks MD: What would you tell young drummers today to do, so they
with other drummers, and I’m playing on the rest. can have a nice long career like Bill Ward?
MD: Who are some of your favorite songwriters, and what BW: I’ve had a nice long career because of things that I’ve
songwriters have influenced you the most? stopped doing. Otherwise, I would have been dead. I would tell
young musicians to be mindful of becoming alcoholics, or of
BW: I love everybody! I love Lennon and McCartney, the people
using and becoming addicted to drugs. I ask them to be mindful
that wrote for Elvis, the writers at Motown, Buddy Holly, all the
of that and be honest about it. Unfortunately, drug addiction
way up to Metallica. I absolutely embrace Metallica with all my
tells you that you’re OK, it’s hard to say to somebody, “Watch
heart. I like Type O Negative, there’s so many metal bands that
out for that,” when they think they’re having a good time. I’m
I think are fantastic. I’ve been a huge metal fan since Metallica
working and playing we with a lot of younger guys, and we’ve
made their first album. When that came out, I was the second in
always got students in and out of the studio, and I tell them
line. I don’t think there’s a metal band that I haven’t liked at least
to be good to yourself and be honest. Try to be as honest as
one of their songs.
you can possibly be about yourself and watch out for keeping
MD: I can tell you that when I have interviewed the modern secrets. Secrets kill. Keep people close to you, don’t push people
metal drummers like Brann Dailor, Dirk Verbeuren, Mike away. Many people do that, I’ve seen a lot of people get pushed
Wengren, Art Cruz, Gene Hoglan, and many others… They all away by people who are recording artists, because they don’t
look to you as the original and greatest metal drummer of them have time for anybody but themselves.
all, they love you! That’s why you are going into the Modern
MD: Can you talk to people about the process of “coming back?”
Drummer Hall of Fame.
You have had to come back a few times during your career.

36 Modern Drummer December 2024

BW: In my career I’ve had to come back from insults, and I’ve had and that I was not the smartest person on earth, like I thought I
to come back from bad health, like addiction. In order to come was. Those are all problems of the ego, and those problems arise
back, you need to embrace your life. with addiction.
MD: How do you do that? MD: I’m so glad that you have done the work to solve those
BW: I think what you must do, is not to do what I did. Which was issues and so we could continue to hear great music coming
to go in and out of recovery for several years. What I’ve learned from you. Because, like you said, if you didn’t solve those
is I must embrace myself, and I have to give myself back to me. problems, you might not be here.
I’ve learned how to do that; I’ve learned how to give myself back BW: I definitely wouldn’t be here.
to me. To do that, you need to be surrounded by people who are
MD: We all have friends that have walked that same path, and
going to love you and who are going to tell you the truth, even
that have gone through that same nightmare, and I tell them the
when you don’t like it; people who are going to support you,
same thing I’m telling you. I’m glad you did the work and came
no matter what. That’s how you can come back to becoming
out the other side, and we’re all here for you! The world needs
exactly who you are, and who you want to be. Oftentimes it’s
more Bill Ward’s, but I’m not going to be selfish, I’m just glad we
still have the original and the great Bill Ward!!!
I think the best thing that ever
happened to me is to become in service BW: This is such a great honor, and it is such an honor to be
speaking with you, I’m just blown away. I love drummers, it’s
to drummers and metal bands. Being a wonderful brotherhood. I think the best thing that ever
in service is an honor, it’s reaching happened to me is to become in service to drummers and metal
a place where it’s important to make bands. Being in service is an honor, it’s reaching a place where
sure all my words are correct. it’s important to make sure all my words are correct. When I’m
talking to eight-and nine-year-old children about what a snare
changing the people around you, sometimes you have to let is, why the snare drum is important, and how we use the snare
go of your best friends who are killing themselves alongside drum; that’s an honorable and compelling position, and it’s very
you. Sometimes we must do a lot of things that we don’t like to honorable for me spiritually. It’s a place of loyalty to my fellow
do, which covers a lot of stuff. Sometimes we have to make the drummers. I’m happy and thankful every day for drummers,
right decisions for ourselves. A lot of us have never done that, drumming, and drums.
and we must be selfish (in the best way possible.) Some people
are not able to make decisions for
themselves because they want to
be the center of attention, and they
don’t want people to think badly of
them. They don’t want to be seen as
the asshole.
MD: How did you deal with the
insults?
BW: I realized that the insults
weren’t true, and they don’t belong
to me. They belong to the person
that said them. The insults are for
them to live with, they don’t belong
to me in any way shape or form,
they aren’t the truth. And because
they’re not the truth, I don’t have
to defend myself. At first, I tried to
go on defense, I’ve tried to defend
myself saying, “No, that’s not right.”
That’s how it went, but I know what
things will happen to the people
who have chosen to be mean or
callous about me. I can talk about
what will happen to them because
I can talk about what happened
to me when I’ve been callous and
mean. When I thought I was right,
and I said insulting things about
other people, I paid a huge price for
it. That price came because I was
addicted, and I needed to apologize
in ways that I didn’t know that
apologies could be made. I didn’t
realize that I was wrecking things

Modern Drummer December 2024 37

A nother exciting year of drumming
has passed, and it’s time for the
2024 Modern Drummer Readers Poll.
Congratulations to all of the winners!
Thank you for your drumming and
contributions towards the history and
evolution of modern drumming. Your
recordings, concerts, clinics, shows,
books, videos, and articles, are a true
inspiration to us all. Congratulations to
all of the runners-up as well. As many
have said, it’s truly an honor just to be
nominated. Thanks to all of Modern
Drummer’s readers and fans of talented
drummers and notable music who voted
in this year’s poll.
 Bill Ward
Chris Wagner

In 1968, Black Sabbath invented heavy metal, and Bill

Ward invented heavy metal drumming. Their first three
recordings Black Sabbath, Paranoid, and Masters of Reality are
intertwined, allowed Ozzy Osbourne to do his thing.
Ward took the swing of early big band and swing music,
combined it with the audacity of early rock and roll, the
a holy trinity of metal. The band continued mightily with Vol improvisation of jazz, and added his own crucial ingredients
4., Sabbath Bloody Sabbath, and Sabotage. Never Say Die! and to Sabbath’s musical stew. The results are all time classic
Technical Ecstasy brought out the bands more progressive drum parts such as “Iron Man,” “Paranoid,” “Children of the
and experimental sides, and Past Lives documents several of Grave,” “War Pigs,” “The Wizard,” “Dirty Women,” “Johnny Blade,”
their renowned live performances. and “Never Say Die.”
Through all the classic records and anthemic songs, Ward has left and reunited with Black Sabbath many
Bill Ward’s drumming is the unshakable foundation of times. But more importantly, he has led his own bands since
everything: Painstakingly and grindingly slow tempos, the 80s, and has developed into a talented composer while
unbelievably fast tempos, pounding double bass drums, releasing the records Ward One: Along the Way, When the
monster drum sets, titanic grooves, and classic drum parts. Bough Breaks, and Accountable Beasts. Bill Ward is one of
Ward cemented them all into the history of rock music. the most influential drummers of all time and is the 2024
Ward’s ebb and flow with bassist Geezer Butler, and the inductee into the Modern Drummer Hall of Fame.
way Ward’s drumming and Tony Iommi’s guitar playing
The Modern Drummer Hall Of Fame, 1979-2023
2023 Alex Van Halen 2011 Jim Chapin 1999 Roy Haynes
2022 Taylor Hawkins 2010 Hal Blaine 1998 Ringo Starr 1987 Billy Cobham
2021 Sheila E. 2009 Mitch Mitchell 1997 Terry Bozzio 1986 Tony Williams
2020 Nicko McBrain 2008 Ginger Baker 1996 Vinnie Colaiuta 1985 Louie Bellson
2019 Dave Grohl 2007 Jack DeJohnette 1995 Elvin Jones 1984 Steve Gadd
2018 Clyde Stubblefield 2006 Charlie Watts 1994 Larrie Londin 1983 Neil Peart
2017 Peter Erskine 2005 Stewart Copeland 1993 Jeff Porcaro 1982 Keith Moon
2016 Vic Firth 2004 Mike Portnoy 1992 Max Roach 1981 John Bonham
2015 Ian Paice 2003 Simon Phillips 1991 Art Blakey 1980 Buddy Rich
2014 Carmine Appice 2002 Steve Smith 1990 Bill Bruford 1979 Gene Krupa
2013 Bernard Purdie 2001 Dennis Chambers 1989 Carl Palmer
2012 Phil Collins 2000 Dave Weckl 1988 Joe Morello

Modern Drummer December 2024 39

 Danny Carey

“I want to give my sincerest thanks to everybody who voted for me for the Best
All-Around drummer category in Modern Drummer magazine it means a lot
thank you so much I want to thank David and Felipe at Modern Drummer for all

Alex Kluft
their support, Monica who does lots of publicity stuff for me, Joe Paul of course
my drum tech, Tim Dawson who’s helping me right now on this tour, and all you
Modern Drummer readers from around the world thank you so much I appreciate

Runners Up:
Alex Kluft

Alex Kluft

Cindy Blackman-Santana Justin Brown

Alex Kluft

Alex Kluft

Teddy Campbell Mark Guiliana

 Chad Smith

“Hey Chad this came in the mail for you.” “Modern

Drummer Magazine Reader’s Poll Rock Drummer Chad
Smith, that’s me! Oh, my God, look at this! Another one.
Wow, wow. This is very humbling. Thank you so much
Modern Drummer magazine, everyone that reads it and all
you drummers and everyone that voted - my peers. That
means so much coming from fellow drummers. Thank you

Alex Kluft
so much! Amazing! You know, I just want to get better, and
I want to keep spanking those skins and keep doing it as
long as I can. I love you. Thank you guys. Thank you!

Runners Up:
Alex Kluft

Alex Kluft

Colin Brittain John Otto

Zeus Ariel Lopez Sanchez
Alex Kluft

Jon Theodore Paulina Villarreal

 Zac Farro

“Being on the cover of Modern Drummer in October was

a milestone career moment for me, after playing drums
for well over twenty years. To then hear that I’ve been

Zachary Gray
voted the best Pop drummer from the Readers Poll is
really such an honor! To all the voters and readers of
Modern Drummer out there, thank you so much and I’m
so grateful for this award.”

Runners Up:

Jason Mehler
Alex Kluft

Brian Fraiser-Moore Hayley Brownell

J Rod Sullivan Mike Reid

Alex Kluft

Alex Kluft
 Mike Portnoy

“Hey everybody. It’s Mike Portnoy

here coming to you from Oslo,
Norway, and I wanted to thank
each and every one of you that
voted in Modern Drummer’s Readers
Poll Awards this year and thank
you for voting me Progressive
Rock Drummer of the year once
again. Woo! Thank you so much. I
always say this, but it’s the truth:
drumming and music is not a
contest that could be measured.
So, there is no best, there is no
greatest, there’s only favorites.
But I want to thank you for voting
me your favorite this year. The
acknowledgement is always
appreciated. Thank you very much
and see you on the road.”

Wolfe Eliot
Runners Up:
Nick Guiumenti

Alex Kluft

Aric Improta Gavin Harrison

II Matt Garstka
Adamross Williams

Alex Kluft
 Eloy Casagrande

“Hello, it’s Eloy Casagrande and I’m glad that I

was nominated as the best metal drummer of
2024 by Modern Drummer magazine. Thank you,
Modern Drummer. Thank everyone who voted for
me. I’d like you to know that I’m not the best one.
There is no good or bad in music or in arts. But
I’m lucky enough that I have fans that support me
and who like what I do. So thank you. Thank you,

Alex Kluft
Modern Drummer, for the service you do for the
drumming community. And see you on the road.”

Runners Up:
Alex Kluft

Alex Kluft

Charlie Benante Greyson Nekrutman

Mario Duplantier Ray Luzier

Alex Morgan

Alex Kluft
 Joey Castillo

“Hey, what’s up everybody? Joey Castillo here. I just

Becky DiGiglio
wanted to say thank you to Modern Drummer and
to all the readers who voted me Punk Alternative
Drummer of 2024. You all rule.”

Runners Up:

Colin Smith
Alex Kluft

Brandon Pertzborn Erik Sandin

Kaho Kiss Tre Cool

Yoshifumi Shimizu

Alex Kluft
 Matt Chamberlin

“Just the other day, I got an email from Modern Drummer telling
me that I had won the Reader’s Poll in the studio category,
which was completely unexpected. I had no idea. I just wanted
to say thank you for reading liner notes and paying attention
to what I do. And also, I think it’s a great honor to be included
in this reader’s poll with all these incredible drummers, icons,
heroes, and also to be in this magazine, which I grew up
reading. And yeah, I’m in the studio right now and I should

Courtesy
probably get back to recording before somebody comes in
here and asks me why I am talking to my phone.”

Runners Up:
Alex Solca

Alex Kluft

Aaron Sterling Ash Soan

Brody Simpson Sean Hutchinson

Shane Timm
Courtesy
 Nate Smith

“What’s up everybody! Big

thank you to Modern Drummer
for this amazing award. I’m
very humbled to receive it!
Thank you to everyone who
voted in the Readers Poll and
thank you to all the other
nominees. Shout out to all the
musicians who are a part of
this drumming community. I’m
very honored to be included
in that once again thank you
Modern Drummer. I’m very
grateful for this award and
hope to see you guys out there
thank you so much.”

Tyler Scheerschmidt
Runners Up:
Alex Kluft

Alex Kluft

Chris Dave CJ Thompson

Devon “Stixx”Taylor Nikki Glaspie

Rory Kramer

Alex Kluft
 Avante Clark

“What’s going on guys, it’s yours truly Avante Clark also known as “Sonic The
Drummer,” I just want to take a quick moment and shout out to you guys man I
love you all so much thank you for everyone who has voted for me as the winner
in the Modern Drummer 2024 Readers Poll under the hip hop section, that’s
amazing and I appreciate you guys, shout out to Modern Drummer man, thank
you guys for even considering me. Thank you to everybody that voted for me, I

Courtesy
truly, honestly, genuinely appreciate you guys, it’s the kindest love and support,
God bless you all, so much more to come, peace.”

Runners Up:
Felipe Laverde

Alex Kluft

Carlin White Jacopo Volpe

Rico Nichols Toussaint Lipton

Leon Alexandru

Alex Kluft
 Ulysses Owens Jr

“Thank you, Modern Drummer, as a person

that’s been reading your magazine since I was
11-12 years old, it was the way that I knew
what drum products were out there. It was the
way that I was informed about the incredible
drummers, and it also was a place for me to
dream. Looking at that magazine is very much
responsible for the life that I have now, the
products I play, the way that I show up in the
drumming community. It is because of the
narrative that Modern Drummer magazine
began for me in my life, and really the seed
that they planted within me to be a drummer
and to want to be a drummer on the highest
level. So thank you. Thank you to all those that
voted. And just thank you to all the companies
that support me. Thank you to the art form of
jazz. Behind me is Warren Baby Dodds. He’s
the beginning, one of the beginning masters
of this art form, going all the way back to New
Orleans. So continue to support drummers

Zack Olsen
making music in real time with real people.
Thank you all. God bless you.”

Runners Up:
Alex Kluft

Courtesy

Brian Blade Jaylen Petinaud

Jeremy Dutton Marcus Gilmore

Alex Solca
Courtesy
 Dave Weckl

“I just wanted to thank you all, sincerely, for voting

for me in the Jazz Fusion category Reader’s Poll 2024
Modern Drummer. There are so many great players out
there bringing it, and at this stage of the game for me, it’s
such an honor, and can’t thank you enough. Thank you
for listening and supporting. Thanks, Modern Drummer,
everybody there for continuing the great magazine
tradition. And to all the players, keep on playing, make
it positive, and be healthy. All right? Have a good one.
Thanks again.”

Alex Kluft
Runners Up:

Jannick Mayntz
Courtesy

Alexander Sowinski Jay Kalo

JD Beck Yussef Dayes

Florian Joahn
Alex Kluft
 Hans Zimmer
Percussion
Aicha Djidjelli
“Thank you so much to Modern Drummer for including us in this
year’s Readers Poll, and to all the wonderful people who took the
time and voted for us. It’s such a huge compliment to have won
these awards and to be sharing it with my fellow Hans Zimmer
Live & Dune 2 comrades Holly, Aleks, Steven & Buzz makes for an
extra special moment. Thanks to Modern Drummer for being an
incredible platform that celebrates and acknowledges drumming
achievements, I couldn’t wish for a better community to be a part
of. It feels really nice to be seen by you guys, Thank you.”
Aleksandra Suklar
“Hello everyone, I am so happy and so thrilled to be a winner
together with my wonderful colleagues Holly Madge, Aicha
Djidjelli, Steven Doar, and Buzz Allen as part of Hans Zimmer’s
Percussion Section in this year’s Modern Drummer Readers Poll
for Best Recording and Best Percussionist. I couldn’t be more
honored, so thank you Modern Drummer Magazine and thank you
to everyone who has voted for us. Thank you so much. Wish you all
a wonderful time.”
Alex Kluft
Holly Madge
“Wow, that’s a privilege! Thank you so much Modern Drummer, it
means the world to know we won. Thank you so much for creating
such an incredible legacy and community around drums, and thank
you to all the readers who voted for us it really means the world and
of course so much love to my bandmates Aicha Djidjelli, Steven Doar, Aleksandra Suklar, and Buzz Allen you guys the best, what a ride
it’s been and of course so much love to Hans for giving us these incredible parts and then giving us the freedom on top of that means
the world and Modern Drummer you’ve made my year thank you.”
Stephen Doar
“Hi, everyone, I play with Holly Asha and Alexandra on Hans and Her Live. And we just want to say thank you to Modern Drummer
Magazine. We want to say thank you to everybody that voted for not only us, but for everybody in all the categories. We’re very grateful
to you and to Hans himself for letting us play along with him. I grew up reading Modern Drummer Magazine, I think it’s absolutely
insane that I’m even a part of this, and it’s been a real pleasure.”

Runners Up:
Zachary Grey

Alex Kluft

Joey Mullen Luis Conte

Leandro V. Comisarenco

Meinl

Paulo Stagnaro Stephan Maass

 Mark “Taco” Annino

“Hey everybody, just want to say that I am truly honored to be accepting this award. I want to thank everyone who took
the time to vote. Your support means everything. Big thank you to Modern Drummer for this incredible recognition. It’s
such a privilege to be part of such an amazing community. I also want to recognize all my fellow nominees. You guys are
incredible musicians and inspire me every day. And it’s an honor to be included in this with you all. Quick shout out to all
the companies that endorsed me out on the road. I appreciate your continued support and making sure I have everything
needed to put on a great show every night. Last but not least, I want to just thank the rest of the band, Morgan, and our

Alex Kluft
entire road family. You all make this journey possible for me and I absolutely love to share the stage with you guys every
night and travel the world. Thanks again everyone for this honor and congratulations to all the winners of this year’s
Modern Drummer Readers Poll. Take care.”

Runners Up:
Jacob Distasio

Alex Kluft

Cody Ash Derek Mixon

Nick Buda Steve Clark

Louie Nice
Alex Kluft
 Bruno Valverde

“I’m so excited because I just found out that I’ve been voted the winner in
the up-and-coming category of the Modern Drummer Reader’s Poll and I’m
beyond grateful. First of all a huge huge thank you to Modern Drummer for
this incredible honor like being recognized for such an iconic magazine
means the world to me so thanks again so much and a massive massive
thank you to everyone who took the time to vote for me. Your support is

Alex Kluft
like a reminder of why I love what I do which is like connecting with all of
you through music so thanks again so much for every single vote and see
you next time see you on the road, thank you so much again.”

Runners Up:

Lucienne
Mia Ross

Jas Keyser Lucy RItter

Shane Hawkins Tosh the Drummer

Alex Kluft

Alex Kluft
 @mauricio.extremedrums

“You know what? If I could go back

in time and tell the 15 year-old
Mauricio that one day he would
be voted the winner in the Social
Media category of the Modern
Drummer 2024 Reader’s Poll, he
wouldn’t believe me. He simply
wouldn’t. So, I’m having a hard time
trying to find words to describe the
feeling, you know? It’s a big mix of
surprise, happiness, pride, but most
of all a huge sense of gratitude to
Modern Drummer for making this
happen and of course my amazing

Courtesy
audience that voted for me.
Guys, you are the best and I really
appreciate you all so here’s to you!”

Runners Up:
Courtesy

Courtesy

@imsethdrums @Rajameissner
Cierra Mestas
Courtesy

@thatswedishdrummer @thecowboydrummer
 El Estepario Siberiano

“Hey there, guys Estepario, here, I just finished filming some

videos, and I wanted to take a minute of your time to say thank
you. That’s it. I wanted to express how grateful I am to each and
every one of you who voted on the Reader’s Poll on Modern
Drummer Magazine. I was totally not expecting this award,
and I am speechless. I don’t even know what to say. I was not
expecting this, but I can tell you, from the bottom of my heart,
I’m going to continue working each and every single day in
order to provide you the best version of me that I can so with
all that being said, thank you so much, guys. I don’t take this for

Alesis
granted, and I will always be grateful to you. Cheers.”

Runners Up:
Courtesy

Courtesy

Benny Greb Chris Coleman

Alex Kluft

Alex Kluft

Dave Elitch Dave Weckl

 El Estepario Siberiano

Drumeo
Runners Up:

20 Modern Snare Drum Solos A Life in Time : Steve

Daniel Bedard Gadd, Joe Bergamini

Drumming in Flow Philly-Ism

Ray LeVier Tim Carman
 Dune 2
Hans Zimmer
Percussion Section

Buzz Allen
“I am very excited and honored to be accepting the award from Modern
Drummer Magazine’s Readers Poll for Best Recorded Performance
alongside Aicha Djidjelli, Alexsandra Suklar and Holly Madge for our
work we did on the Dune 2 soundtrack for Hans Zimmer. When we were
recording this, I thought I was honored enough just to be on a Hans
Zimmer soundtrack, but to have this as well is utterly unbelievable. So a
huge thank you to Modern Drummer Magazine, the world’s best rhythm,
drum, and percussion publication. A huge thank you to all the readers for
voting for us. Thank you so much indeed. Thank you to Hans Zimmer for
allowing me to play on the soundtrack. It was my first time ever working
for Hans, so this has just gone from amazing to unbelievably incredible.
Again, my fellow percussionists, Aicha, Alexsandra and Holly for being
absolute legends. And to my mom and dad for their continued support
and that of my lovely wife, Kieran. So thank you all very, very much. Truly
honored and humbled. Cheers, guys.”

Runners Up:

Alexander Sowinski
Badbadnotgood Mark Guiliana
Mid Spiral MARK

Matt Cameron / Pearl Jam Robert Sput Searight / Ghost Note

Dark Matter Mustard n’ Onions
 TRANSCRIPTION

Black Sabbath’s “War Pigs” drummer, Bill Ward

Transcription by Marc Atkinson

This month, in honor of the legendary Bill Ward, I’ve transcribed the classic
song “War Pigs” from Black Sabbath’s iconic second album, Paranoid. This song
showcases Ward as a true pioneer of metal drumming. From beginning to end, it’s a
powerhouse track that highlights some of his finest drumming.
To improve readability, I notated the opening in 12/8 instead of a slow 4; however,
it can be felt either way. Don’t worry about strictly playing the dotted 16th and 32nd
notes; instead, try rounding them out or “swinging” them.
In the following section, pay special attention to Ward’s distinctive hi-hat work.
He combines an open/close motion with his foot and strikes with his right hand,
creating a fuller, fatter sound.
Throughout the song’s heavy-hitting sections, you can clearly sense Ward’s jazz
influence in his fills, alongside the hard-rock intensity reminiscent of John Bonham.
“War Pigs” marks a turning point in music history, and Ward’s drumming is one of the
foundational influences in the birth of heavy metal.




        

   

    
  
  

   
    

 








 
        
 
    
     
 


   
    
   
 

 
 
  


  
 
 
   
   

  
 




    


 
          


 



                              

   

                          


                                

  

                             

                               

   


                           

                                

 

                            
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Modern Drummer December 2024 59

    
     

  

   




 

 
 

 


   
 
     


   

 


 
 



            
                               

                                      



               
                            

                       


               
                              

                       


               
                               

                      


        
                                     

                                           


     
       
                         

   
         

             

                                

   

                            

                               

   

                             

                               

    

                             
60 Modern Drummer December 2024
   
            
           




       


                        
      
            
    
  

             


                     
     
      
 
 

 
 
    
  
    

    
         



 
          
 
 

 
  
       

               



    
     
             

  
          

       





        
               

        
           

  
      



               
   
  

                    


               
              


   


                  


                    
               

                   

            



         
            
     

               



         
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Marc Atkinson, a dedicated musician, honed his craft under the guidance of the renowned Gary Chaffee. Now calling Las Vegas home, Marc
is on the brink of unveiling his labor of love—a comprehensive transcription book that promises to captivate music enthusiasts worldwide.

Check out Marc’s Modern Drummer profile page at moderndrummer.com

62 Modern Drummer December 2024
FROM OUR HANDS
TO YOURS.

SHELL MATERIAL
3 Base material is used
Beech

SHELL TYPE
3 Base material is used
Vintage

SHELL FINISH OUTSIDE

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sq2-drumsystem.com
 JAZZ DRUMMER’S WORKSHOP
Master Studies: Ostinato Studies
By Joe Morello

This month we will conclude our exploration of Joe Morello’s legendary Master Studies book. We started a few years ago with
his application of the Stone Killer, and have traversed all his Master Studies concepts and excercises to develop control and
technique at the drums. Next month, we will start working on Joe Morello’s Master Studies 2 to continue developing our control and
technique at the drums.
In this month’s column, the idea here is to be able to play an ostinato with one hand and have total freedom with the other hand.
Again, we’re dealing with the control of the instrument. The more control you have, the more confident you will be as a player.
You should first practice the below ostinato figures by themselves, using only the left hand. Then practice each one using only
the right hand. (This goes back to the idea of developing each hand individually and then putting them together. Practicing these

> > > >

exercises in this way will also be good for accent control.)

? 44 .. œ .. .. œ ..
1 2
œ œ œ œ œ œ œ œ œ œ œ œ œ œ

> > > > > > > >

? 44 .. œ .. .. œ ..
4
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3

> > > > > >

? 44 .. œ .. .. œ ..
5 
œ œ œ œ œ œ œ œ œ œ œ œ œ œ

> > > > >

? 44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
7

> > > > > > >

? 44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
8

> > > > > > > > >

? 44 .. ..
9
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

> > > > > > >

? 44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
10

> > > > > > > >

? 44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
11

Note: this is merely an accent played on every third note.

> > > > > > > >

? 44 .. œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ ..
3 3 3 3 3 3 3 3
12 13

64 Modern Drummer December 2024

 > > > > > > > > > > > >
? 44 .. œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ ..
3 3 3 3
3 3 3 3
14 15

> > >

? 44 œ œ œ œ œ œ œ œ œ œ œ œ ..
3
3 3 3


> > > > > > > > > >
? 44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
3 3
3 3 3 3 3 3
17

> > > > > > > > > >
? 44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
3 3
3 3 3 3 3 3
18

> > > > > > >

? 44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
3
3 3 3 3 3 3 3
19

> > > > > > >

? 44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
3
3 3 3 3 3 3 3
20

> > > > > > > > >

? 44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
3 3 3
3 3 3 3 3
21

> > > > > > > > >

? 44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
3 3 3
3 3 3 3 3
22

> > > > > > > >

? 44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
3 3
3 3 3 3 3 3
23

> > > > > >

? 44 .. œ œ œ œ œ œ œ œ ..
3 3
24
œ œ œ œ œ œ œ œ œ œ

> > > >

? 44 .. œ œ œ œ œ œ œ œ ..
3 3
25
œ œ œ œ œ œ œ œ œ œ

> > > > > >

? 44 .. œ œ œ œ œ œ œ œ œ œ ..
3 3

œ œ œ œ œ œ œ œ

> >
? 44 .. œ œ œ œ ..
3
27
œ œ œ œ œ

Modern Drummer December 2024 65

 > > > > >
? 44 .. œ œ œ œ œ œ œ œ œ ..
3 3
28
œ œ œ œ œ œ œ œ œ

> > >

? 44 .. œ œ œ œ œ œ œ œ œ œ ..
3 3
29
œ œ œ œ œ œ œ œ

> > > > > >

? 43 .. œ œ œ œ œ œ .. 31? 43 .. œ œ œ œ œ œ ..
30

> > > >

? 45 .. œ œ œ œ œ œ œ œ œ œ ..
32

After you feel comfortable with the above ostinato patterns, play the ostinato pattern with your left hand while playing different
rhythms with your right. A few examples of rhythms that you could play are given below, but don’t stop with those. Learn to play any
possible rhythm against the ostinato. After you can do this, reverse the hands; play the ostinato with the right hand and the different
rhythms with the left.

j j j j
? 44 .. œ œ œ œ .. .. ‰ œ ‰ œ ‰ œ ‰ œ ..

? .. œ œ Œ œ œ Œ .. .. œ œ œ œ œ œ ..

? .. œ œ œ œ œ œ .. .. Œ œ œ Œ œ œ ..

j j
? .. œ œ œ œ œ œ .. .. œ ‰ œ œ ‰ œ ..

? .. œj œ
j
œ œ œ œ .. .. œ . j
œ œ œ œ ..

? .. œ œ œ œ œ œ .. .. œ œ œ œ œ œ ..

? .. œj œ
j j
œ œ œ œ
j
.. .. œ œ œ œ ‰ j
œ œ ..

j j
? .. ‰ œ œ œ œ Œ .. .. œ œ ‰ œ œ œ œ ..

66 Modern Drummer December 2024

 ? 44 .. œ .. .. œ ..
3 3 3 3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

? 44 .. œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ .. .. œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ ..
3 3 3 3 3 3 3 3

j j j j
? 44 .. ‰ .. . .Œ ..
3 3 3 3

œ Œ œ Œ œ Œ
3 3 3 3

œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ

? 44 .. ‰ .. .. œ ..
3 3 3 3

‰ œ ‰ œ ‰ œ
3 3

œ œ œ œ œ œ œ œ

? 44 .. œ ‰ œ œ œ œ œ ‰ œ œ œ œ .. .. œ ..
3 3 3 3 3 3

œ œ œ œ œ œ œ

? 44 .. œ .. .. œ ..
3 3

‰ œ œ œ œ ‰ œ
3 3

œ œ œ œ œ œ œ

? 44 .. œ .. .. œ ‰ œ œ ‰ œ œ ..
3 3 3

œ œ œ œ œ œ œ œ œ

j j j
? 44 .. œ .. .. ‰ ..
3 3

‰ œ ‰ œ œ ‰ œ ‰ œ œ
3

œ œ œ œ œ

These patterns, obviously, are only to get you started. After you can play each of these in conjunction with an ostinato, practice
additional patterns of your own choice, until you are able to play any possible rhythm with one hand, while maintaining an ostinato
with the other. You should also apply various accents and dynamics to these patterns.
Once you have reached a certain proficiency, start putting the rhythms together into phrases. An eight measure example is given,
but again, don’t stop here. Take any reading book and play the music against an ostinato. The ultimate goal is to be able to improvise
freely with one hand while playing an ostinato with the other.

>j j > > > j> > j > >

? 44 œ ‰ œ œ ‰ œ œ œ œ œ Ó ‰ œœ œœ‰ œ œ œ œ œ Œ

> > > >

?œ œ œ œ œ œ œ œ œ œ Ó œ œ œ œ œ œ Œ Ó

Following are a few suggestions for using ostinatos on the drum set:
•Ostinato with left hand on snare; improvise freely with right hand on cymbals or toms.
• Same as above with various bass drum and hi-hat patterns.
• Ostinato with left hand on snare or closed hi-hat various rhythms broken up between right hand on toms
and right foot on bass drum.
• Ostinato with right hand on floor tom; left hand improvising freely on snare drum.
• Ostinato with right hand on bell of the ride cymbal; a different ostinato with the left hand on the snare drum.
•The possibilities for using ostinatos are limited only by your own imagination. Be creative.

Modern Drummer December 2024 67

 BASICS
The 12 Week Year
By Chris Lesso

T here’s one problem with setting annual goals, a year is too

long. How many people get fired up over their New Year’s
resolutions, only to forget about them a couple weeks later?
Don’t be stuck living in the past. Yesterday is dead! Once
I learn the lessons from history, all I care about is where I’m
heading. When we disrupt and reinvent, we have total freedom
Have you ever set a goal and thought, ‘I’ve got a whole year to to go boldly into the future. Open-handed drumming does this
do that, that’s all the time in the world!’ Then when November by throwing away crossing our limbs and opening our body
hits, you rush into cramming mode? What we do in the LTR language to unleash our inner power. Although we’re future
DRUMMING system, is to approach the year as four mini-years, driven, we need front-sight focus too. Chasing distractions is the
each 12 weeks long. (Check out the book The 12 Week Year by dark side of the energy and passion of drumming.
Brian Moran for more on this idea.) Now we have some urgency
YEAR 3:
to our goals, and a better sense of how they all tie together as
four separate cycles. Don’t think like a drummer, think like a ‘sound crafter’!
Opening ourselves beyond the drumset shows that we have
At the end of the full year, I do is a deep dive review ritual
no limits. By stepping ‘into the arena’ (check out Theodore
on the entire year that just passed. Questions are key: How did
Roosevelt’s iconic speech of the same name,) we’re going to
I improve this year? Where did I win? What am I most thankful
have dark days. Embracing the suck is to move straight ahead,
for? How could I have done it better? These are just a few of
being relentless and unstoppable is to persevere through
the questions I ask myself to spark reflection. Then I block out a
anything that comes at us. The obstacle becomes the way
few quiet hours, and chart out my battle sheets for the year to
forward!
come. Yes, life is short and time flies, but installing the 12-week
year ritual and review slows time down by giving us a ‘view from YEAR 4:
above’ to be intentional with each day, each hour, and even each
As soon as we think we know it all, we lose our humility and
minute. Because in the end, it’s all we have.
our ‘beginner’s mind’. The grand masters are all eternal students!
Here’s a review of the concepts we’ve covered this last year in I’ve been happily challenging myself for four decades and
Modern Drummer, in four 12- week cycles: counting, and I feel like I’m just getting started. (As drummers,
we’re LIFERS.)
YEAR 1:
• Do All Drummers Have ADHD?
To become our best selves through drumming we must
ruthlessly delete the unessential, bringing us back to the • The Sound Crafter
essence of what makes our voice unique. And while we do this, • Embrace The Suck
our breakthroughs often come from going outside the world of
drumming for answers. The goal is to speak OUR voice on the • The Flow of Movement
drums, never to compete with anyone else we can never be! • The Curse of The Expert
YEAR 2: • Don’t HIT Your Drums!
• Don’t Compete, Create! • The 12 Week Year
• Delete, Delete, Delete: Masters of Minimalism Our drumming journey never ends! To be these concepts,
• To Master Your Craft, Go Outside It you can check out my Life Through Rhythm book and program
at chrislesso.com. For more on these concepts to inspire your
• The Shape of Drumming to Come drumming, join the LTR DRUMMING global community and start
• Getting Started with Open-Handed Drumming with your free training at chrislesso.net/drum

TRANSFORM through DRUMMING today!

Connect with Chris to start your Life Through Rhythm
journey with your free training:
Check out Chris’s Modern Drummer profile page at
chrislesso.net/LTRDRUMMING moderndrummer.com
68 Modern Drummer December 2024
 ROCK PERSPECTIVES
Encyclopedia of Double Bass Drumming:
Five and Six Note Linear Cross Rhythms
By Bobby Rondinelli

I
n the new and revised edition of the Encyclopedia of Double
Bass Drumming, Bobby includes nine new double bass
drumming chapters. The new and expanded edition covers
• This chapter will help you devel-
op linear double bass fills.

contemporary techniques such as bass drum double strokes, • The linear concept is simply
feet-only exercises, binary and ternary rhythms, “skiplets,” this—none of your limbs hit at the
beat turnarounds, the “ladder,” and playing doubles with the same time.
hands while playing singles with the feet. These concepts will • Cross-rhythms are usually odd
challenge your playing while expanding your double bass groupings of notes (3, 5, 6, 7, 9)
vocabulary. If practiced with intention and diligence, this that are played repetitively and
material will help to prepare you for the demands of today’s do not coincide with the down-
music. This material is advanced, but completely attainable for beats of even-note groupings.
anyone who has completed the previous chapters in the book. It’s possible to have even-note
This month we will explore more Linear Cross-Rhythms. This cross-rhythms (see Triplet 4’s on
is just a way of saying; we will be playing rhythmic ideas that page 65).
are broken up between the hands and feet in which your hands • All of the fills in this chapter utilize linear cross-rhythms.
and feet don’t play at the same time (on the same notes,) or
in unison. These notes will be grouped in odd numbered note • Orchestrate your hands between the snare and toms.
groupings (like 3, 5, 6, 7, and 9.) Last month we started with
• On most of the fills, playing one hand on a tom sounds great.
three note rhythms. This month we will continue by focusing
on five and six note groupings and phrases based on those five • Experiment with your own melodic combinations.
and six note groupings, as seen in the initial exercises. Then we
will create longer phrases and ideas that are based off the initial • All bass drum rhythms can be played in unison with your hands
groups of five and six note phrases. playing cymbals. Although the patterns then are no longer
linear, they are still cross-rhythms and sound terrific.

5/16 Warm-Ups

÷ .. œ œ œ .. ÷ .. œ ..
11 12
œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ

÷ .. œ œ œ œ œ .. ÷ .. œ œ œ ..
13 14
œ œ œ œ œ œ œ œ
œ œ

3 3

÷ .. œ ..
15
œ œ
œ œ œ œ
Five Note Linear Cross Rhythms

÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
R L R L R L R L R L

÷ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
R L R R L R R L L R L L
1 2

œ œ œ œ
5 5 3 3 5 5 3 3

R L R L R L L R L L

÷ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. ÷ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
3 4

œ œ œ œ œ
5 5 3 3 5 5 5 1

3 3 3
RL
>
RL RRL
> RL RRL
> RL RL

÷ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. ÷ .. œœ œ œœ œ œœœ œ œœ œ œœœ œ œœ œ œœ ..
5 6

œ œ œ œ œ œ œ œ œ
5 5 5 1 5 5 5 1

70 Modern Drummer December 2024

 RRL RRL RRL L RRL 3 RRL 3 RRL 3 L

÷ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. ÷ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
7 8

œ œ œ œ œ œ œ œ œ œ œ œ
5 5 5 1 5 5 5 1

R R LR R LR R RL RLLRLL

÷ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. ÷ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
9 10

œ œ œ œ œ œ œ œ œ œ
5 5 5 1 5 5 3 3

÷ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
11

œ œ œ œ œ œ œ œ œ
5 5 5 1

÷ .. œ ..
12
œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
5 5 5 1

÷ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
13

œ œ œ
> > >
5 5 5 1

÷ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
14

œ œ œ œ œ œ
5 5 5 1

6/16 (or Sextuplet) Warm-Ups Six Note Linear Cross Rhythms

6 œ
÷ 16 .. ÷ .. œ .. 7œ .. ÷ .. œ ..
1 2
œ œ œ
÷ 16
2
œ œ 1
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ

÷ .. œ œ œ œ .. ÷ .. œ œ œ œ œ œ œ œ œ œ ..
3 4
÷ .. œ .. ÷ .. œ .. œ œ œ
3 4
œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
3 3 3 3 3 3

÷ .. œ .. ÷ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
5 6
5
÷ .. œ .
6
÷ .. œ . œ œ œ œ œ œ œ
œ œ œ œ . œ œ .
œ œ œ œ œ œ œ œ œ œ
œ œ
3

÷ .. œ .. ÷ .. œ ..
7 8
œ œ œ œ
7
÷ .. œ œ œ œ œ œ œ œ ..
8
÷ .. œ œ œ œ œ œ .. œœœœ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ

÷ .. œ œ œ œ œ œ œ œ œ œ œ .. ÷ .. œ œ œ œ œ œ œ œ œ œ ..
3 9 10

÷ .. œ .. ÷ .. œ .
9 10

œœœœ .
œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ

÷ .. œ œ œ œ œ œ œ œ œ œ œ .. ÷ .. œ œ œ œ œ œ œ œ ..
3 3 11 12

÷ .. œ œ œ .. ÷ .. œ œ œ œ œ œ œ œ œ ..
11 12
œ œ œ
œ œœœ œ œ œ œ œ œ œ

÷ .. œ œ œ œ œ œ œ œ œ .. ÷ .. œ ..
13 14
÷ .. œ .. ÷ .. œ œ œ .. œ œ œ œ œ œ œ œ œ
13 14
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ

Modern Drummer December 2024 71

 ROCK AND JAZZ CLINIC

Vocabulary Development Essentials Part 4 - Hand and

Foot Combinations with Flams
By Michael Packer

I
n last month’s edition, we explored the concept of
enhancing your vocabulary through musical hand and foot
combinations with diddles. This month, we’re diving into the
reverse the sticking’s.
Rudimental Sticking’s: When relevant, use common flam
rudiment sticking’s such as the flam accent, flam tap and the
world of flams, a powerful embellishment that will significantly Swiss army triplet.
elevate your drumming vocabulary and overall musicianship.
Each of these variations offers a unique challenge and
Flams are a fundamental drumming rudiment involving a developmental opportunity. Begin at a slow tempo, ensuring
grace note followed by a primary note, typically adding depth each flam is clean and precise. As you gain confidence and
and weight to rhythm. They are notated with a smaller grace precision, increase the tempo.
note preceding the primary note, creating a wide, impactful
sound. The beauty of flams lies in their ability to add dynamic Next, apply these concepts to triplet rhythm structures
complexity while allowing for greater expressiveness and feel. while maintaining the same sticking approaches. Once you’re
When integrated into hand and foot combinations, flams bring a comfortable, explore orchestration possibilities across your
new dimension to your vocabulary, showcasing your technique drum set. Orchestrate flams from the snare to toms or cymbals,
and dynamic range. which will create engaging, melodic patterns that enhance your
musicality.
To start incorporating flams into your practice routine, play
the exercises below and focus on your accuracy and control. By integrating flams into hand and foot combinations, you
Here are some sticking concepts to utilize: will broaden your vocabulary and enhance your musicality and
precision. Mastering flams allows for new outlets of creativity
Alternating Hands: Practice flam patterns starting with either and clarity in your playing. Stay tuned for future articles in this
the right or left hand, ensuring both sides are equally strong. series, where we’ll explore additional embellishments to further
Straight System: Play the right-hand flams on the downbeats expand your rhythmic vocabulary.
and upbeats, with the left hand on offbeats (e’s and a’s), then

16th Note Hand and Foot Combinations with Flams





   



   



    



     


         





    



    



     



     


     





   



     



      



     


      





   



    



   



    


     


  




     



       



      


 

   
               
72 Modern Drummer December 2024
 
        
 

        



        



        



         


  
    



    



      


 



 


 





     


  

         



         



          


 

       

     
6.8 Hand and Foot Combinations with Flams



       
 

       



       



         


       


       



       



         


       


       



       



         


      


      



        



        


       


        



       



        


       


       



        



        


       


        



       



        


       


       



         



       


Check out Michael’s Modern Drummer profile page and get your
https://www.mikepackerdrums.com/ copy of The Bass Drum Owners Manual at moderndrummer.com
Modern Drummer December 2024 73
 TEACHER’S FORUM
Understanding the Language of Music : Chord Alterations
By Ron Spagnardi
Modern Drummer founder Ron Spagnardi wrote an excellent This month we will be learning about Chord Alterations. This
book called Understanding the Language of Music, a Drummer’s is what it is called when we slightly alter or change (sharp or flat)
Guide to Theory and Harmony. This book spells out the basics some of the notes within the chord to create more (or different)
of theory and harmony in a very easy to understand way. It musical color and tonal variations within the chord patterns and
is a fantastic book for drummers looking to learn about the progressions within the music.
language of music beyond drumming. We are honored to reprint
the parts of Ron’s book here in Modern Drummer for everyone
to read and learn.

74 Modern Drummer December 2024

Modern Drummer December 2024 75
 Industry Happenings
2024 Year in Review
Story and photos by Bob Campbell

E
ach year, there are several superb events that 7x14” in black lacquer (Joe Luoma.) Joe Luoma also showed a
showcase vintage, modern, and custom drums, as 1954 Leedy & Ludwig 5 x14” in the Top Hat finish, the only one
well as phenomenal cymbals, percussive effects, known to exist with this badge. Another one-of-a-kind, ornate,
cases, and related gear. These gatherings aren’t just and dazzling snare was an 1893 silver and gold engraved C. G.
about gear; they’re vibrant hubs for learning and inspiration, Conn 4.5x15.5” World’s Fair presentation drum (Olympics Drums
offering master classes, eye-opening clinics, and one-on-one & Percussion.)
time with celebrated artists. Most importantly, they create a
sense of community, uniting drummers from across the globe Clinics
to share ideas, get valuable insights, and forge unforgettable The clinics were
connections through their shared passion for rhythm. just as stellar as
At Modern Drummer, we are passionate about sharing after- the gear, with
show wrap-ups of these events for those that can’t make it in Gary Astridge
person. Our in-depth articles are intended to capture the energy discussing aspects
and highlights of these extraordinary shows and festivals, of his new book,
inspiring drummers everywhere to dive in and be part of the “Beats and
excitement. Threads”, about
Ringo’s Beatle gear
In 2024, MD attended the fabulous Chicago Drum Show (St. and wardrobe.
Charles, IL.,) Music City Drum Show (Nashville, TN.,) and Ludwig Michael Vosbein
H.I.T.S. Fest (Monroe, NC.,) Here are some brief highlights from (host of Drummer
each of these outstanding events as we pause to reflect on a Nation and
great year in drumming. renowned industry expert) and Rob Cook led an insightful
discussion on cymbal history and construction. Adam
2024 CHICAGO DRUM SHOW Nussbaum, a true jazz drumming legend, imparted decades of
The Chicago Drum Show continues to be one of the largest drumming wisdom by providing guidance on what it takes for a
and longest running (34 years) drum exhibitions. This was drummer to succeed in the competitive world of music and how
the last year with Rob Cook at the helm after which Brian and to get the gig. Wayne Salzmann II (drummer, educator, author,
Johnny Drugan (Drugan’s Drums & Guitars) will take over. We composer) inspired the audience with his insights on creative
wish to thank Rob and his team for their terrific efforts! drumming and improvisation, using examples from a recent
recording session. Closing out the roster was Bernie Dresel, a
This year’s show was chock full of cool new drums and
Grammy Award winning drummer with extensive touring and
cymbals, including: the release of the modern classic Craviotto
recording experience. He delivered a superb master class on
4.5 x 14” Buddy Rich commemorative snare drum, stunning
how to master the art of drumming for success.
Sonor Teak semi-gloss veneer, show newcomers GMD Cymbals
(with cool irregular shape Nebula and Odyssey series, Curved
Stacks), Hayden Custom Cymbals (displaying their wonderful
2024 MUSIC CITY DRUM SHOW
hand-hammered Traditional, Vintage, and Sol series,) and The Music City Drum Show has quickly become a standout
Seifried Cymbals (making exquisite high-end custom cymbals in the drum show scene, celebrating its 4th successful year in
and excellent quality entry level cymbals.) Nashville. Nestled in the heart of Music City, this vibrant event
boasts an impressive and growing lineup of exhibitors, plus
The Chicago Drum Show is widely known for attracting
an impressive number of clinics from both rising stars and
top collectors and players of vintage drums. This year was
drumming legends.
no exception. On display were some incredible drums: Mick
Fleetwood’s 1975 Ludwig Silver Sparkle 5-piece Rumors tour Some of the new and noteworthy items garnering attention
kit (Drugan’s at this show were: Dixon Drums’ “Big Bud” 8x14”, six-ply walnut/
Drums & maple Gregg
Guitars,) three Bissonette
incredibly rare signature snare
snare drums drum and a
with three- compact but
way tuning: huge-sounding
1913 A.M. “Little Roomer”
Hoskins 5X15” three-piece kit
mahogany, with seven-
1939 Gretsch- ply poplar
Gladstone white shells (7x12”,
marine pearl 13x14”, 13x18”,)
6.5x14”, and a a Reverie/
1959 original Brownie Drum
Gladstone three-piece

76 Modern Drummer December 2024

seven-ply ribbon mahogany/poplar kit in “Santorini” metal
flake/epoxy finish, Rogers luscious Sage Green and Champagne
Sparkle PowerTone drum kits, WFLIII Drums celebrating their
10th anniversary with iridescent multi-colored sparkle finishes,
and Turkish Cymbals with the iconic and personable Jonathan
“Sugarfoot” Moffett present at their booth as a new endorser,
and introducing their new MEtA series of cymbals.

Clinics
The drum clinics were captivating, musically diverse, and
packed with insights. In his clinic, Dre Energy (Whitney
Houston Hologram Show, Cirque du Soleil’s Quidam) offered
practical advice on “getting the gig” while sharing his experience
performing Whitney Houston’s music. Greg Hersey (master
H.I.T.S. Fest guests were treated to exclusive factory tours by
percussionist and educator) then came to the stage with
Ludwig staff, a captivating Ludwig history presentation by 36-
an unconventional, standing drum setup, delivering fresh
year Ludwig veteran Jim Catalano, master classes by renowned
renditions of tracks by Kendrick Lamar, Andy Akiho, and more.
Ludwig artists Jonathan Barber, Spanky McCurdy, and Carter
Dante “Taz” Roberson’s (Grammy Award winning musician and
McLean, and outstanding evening concerts at the grand Dowd
session drummer) clinic was very practical and motivational,
Theater.
urging drummers to do their individual best and support each
other, as each drummer progresses at their own pace. Jaheim Master Classes
Lee (20-year-old educator and drum-and-dance performer)
gave an energetic and entertaining clinic combining a dazzling Jonathan Barber, the dynamic drummer, educator,
combination of rudimental technique, stick-tricks, and dance, composer, and band leader of Vision Ahead shared his approach
using only a portable marching snare. Jaheim’s advice to his methods for unlocking a drummer’s full potential. He
aspiring performers was that skill, combined with a positive introduced practice routines like “Accent Options,” a creative
presence and engaging one’s audience, was the recipe for approach using single, buzz, and diddle strokes. By substituting
success. Hayley Cramer (Pop Evil) totally rocked her clinic with accents in familiar rudiments with these strokes, Jonathan
a whirlwind of energy and power. Hayley introduced a method
called “Permutation” that she recommended for warm-up and to
stimulate creativity. She also took time to reflect on her journey
as a woman in a male-dominated industry, stressing that
women need proper opportunities and role models in the music

demonstrated how to enhance your drumming technique and

musicality. Spanky McCurdy, a Grammy-winning drummer
known for his work with stars like Lady Gaga and Kanye West,
delivered an inspiring Master Class. He emphasized the dual
industry. The last clinic of the show was presented by Daru role of a drummer: being the steady heartbeat of the band
Jones (Grammy Award winning drummer, author, and record while adding subtle rhythmic textures to complement fellow
producer.) Daru is well-known for his cool, laid-back style and musicians. Carter McLean, the extraordinary Broadway
unique kit set-up with the toms angled downward away from drummer from The Lion King (over 23 years running,) offered
him. He explained that his novel drum kit setup reflected of his invaluable lessons from his book, Concepts & Creativity. He
identity and the limited need for drum fills in hip hop music, so encouraged appreciation for the art of slow, controlled single-
fewer toms. stroke rolls, noting that mastering a slow tempo is one of
a drummer’s toughest yet most crucial challenges. Carter’s
exercises focused on developing control and precision to lay a
LUDWIG H.I.T.S. FEST solid foundation for exceptional drumming.
The legendary Ludwig Drum Company recently marked
2024 has been an exciting year for world of drums and
40th year of craftsmanship at their Monroe, NC site with an
drumming! Modern Drummer is excited to keep you in the loop
unforgettable two-day celebration: the Ludwig H.I.T.S. Fest.
with the latest and greatest drumming events in the coming
H.I.T.S. – standing for Heritage, Innovation, Tone, and Synergy -
year, ensuring that you never miss a beat.
perfectly captures the spirit of the Ludwig brand.

Modern Drummer December 2024 77

 Collector’s Corner
The Year’s Best of the Northup Drums Museum
By Tim Northup

H
ere at the Northup Drums Museum in Oneonta, NY, we modern-day kit. The museum owns some of the rarest and finest
specialize in vintage drums from the 1920s-70s, as well examples of snare drums, trap sets, percussion sound effects,
as collectible drums from today. All the drums are on and accessories in original or restored condition and ready to
display so you can actually play them! Our collection is always play. This has been at great year at the museum, with a lot of
changing with special exhibits throughout the year; however, visitors, and new acquisitions. Let’s take a closer look at some of
the core of the museum is focused on early jazz trap sets from the rarest drums and some of my favorite items from 2024 in the
the 1920s-40s, showing how the drum set evolved into the museum.

1928 Slingerland Walter G. Howe’s

engraved Black Beauty 1930’s Leedy Black
Snare drum. Onyx Trap Set with
This drum is on the top ten original Sentinel
list of the rarest snare drums Silhouette painted
produced and is highly head.
sought after by collectors. Walter G. Howe was
This drum was only made a famous drummer
for a couple years from from Boston, MA. Since
1928-30, so, very few were Howe was a Leedy
sold. To this day we only endorser, his signature
know the whereabouts of is found on the famous
approximately 20 of these and extremely rare
drums that are in private “Autograph of the
collections. The museum is Stars” drum finishes,
fortunate to own two (!!!) cataloged 1942-46.
of these rare drums. Years NDM owns Walter’s
before Slingerland made the Black Beauty, Ludwig also made 1930’s Leedy Black
a Black Beauty snare drum. Ludwig called their engraved drum Onyx Trap Set with
The Deluxe, and they were made from 1923-31. In 1932, Ludwig original Sentinel
changed the name to Black Beauty and made thousands of these Silhouette painted
drums. NDM also two Ludwig engraved Ludwig Black Beauties, a head. This set has a
4” scroll pattern and a 5” floral pattern drum. rare finish and features
1928 Ludwig a 28” Bass drum, 5x14”
Moose Trap Set. Duall Snare drum
(with snares on the top
This is a rare and bottom heads,)
painted head Leedy China tom in
drumset featuring Black Onyx, hanging
a 28” black lacquer cymbals, lowboy,
bass drum, and a etc. Walter played this set professionally in the Boston area in
5x14” Ludwig Deluxe the 1930s and 40s. He was highly sought after by hotel dance
engraved Black bands and conservatory orchestras of the day, always showing
Beauty snare drum. up with his Black Onyx set with the painted head of an Indian on
This set also includes a horseback! He is also shown playing this set in a 1933 copy of
an extremely rare LEEDY TOPICS magazine. This set comes from the Stephen Hillman
console trap-table Collection of Boston, MA. It is in pristine original condition.
stand complete with
Ludwig Soloblox 1934 Slingerland “Hollywood Outfit” in original
(Ludwig’s version of Sparkling Green wrap.
temple blocks,) two Chinese toms, a tree of cymbals, and a fan This is a real time capsule kit, complete with an extremely rare
of cowbells. A similar set was featured on the cover of the 1928 side trap table. The set features a 14x28” Bass drum, 5x14” Artist
catalog featuring Jack “Peacock” Kelly, the drummer for Chicago’s model Snare drum, Chinese toms, accessories like cowbells,
Mark Fisher Orchestra. woodblocks, a mounted cymbal, a Roy Duncan Sock Cymbal
1930 Ludwig Peacock Pearl Outfit. Pedal, and an extremely rare Duplex Afterbeat drum. These were
inventions made to accent the “after beat” that was popular in
The Northup Drum Museum (NDP) has this near mint condition 1930’s dance music. The Duplex after beat drum is one of the
set with the original painted Millstream Scene Bass drum head. rarest “contraptions” made by Duplex and sold through their first
The Peacock Pearl is a near mint unfaded example of this beautiful catalog in 1928. It is a pedal with mounted brushes that strikes a
wrap. It features a 28” Bass drum, 5x14” Snare drum, Ludwig 14” frame drum with a calf skin head. Only a few of these drums
Chinese tom, and various accessories.

78 Modern Drummer December 2024

are known to still the finish did not wear well
exist, making this over the years, not many of
one of the rarest these sets exist, and probably
items in the museum. none exist in this condition.
It is exactly as it is seen in the
1930-39 LEEDY
catalog. This picture-perfect
Butterfly Girl Trap kit consists of a 26” Bass
Kit with rolling drum, 7x14” Snare drum,
console trap 10” and 13” single headed
table. toms, Zildjian cymbals, hi-
This kit was hat, wood block and two
owned and played cowbells. All these drums
by composer and have the pre-war Zephyr
drummer Oscar F. lugs.
Knablin (1880-1962) Vintage 1968
Bridgeport, Conn. This set is an impeccable example of a trap Slingerland BR model
kit that shows the changes and innovations that were quickly drum set that Buddy played in a clinic in Las Vegas.
occurring in the early years of the drum set. This set features a
1930 WMP 28” Leedy Bass drum with an original factory painted Buddy Rich is considered one of the most influential drummers
head called “The Butterfly Girl,” complete with a blinking light kit, of all time. His time, speed and soloing are second to none.
and a 1939 Leedy WMP 8”x14” Broadway Standard “Swingster” Buddy always gave credit to the greats that came before him and
snare drum. This kit also includes a very rare 1927-36 Leedy that influenced his
“rollaway trap console” trap table with temple blocks and drumming style; Chick
accessories. Mounted on the console is a 11” Leedy tom-tom with Webb, Gene Krupa,
a tacked bottom and tunable top head, and a 14” floor tom, also Jo Jones were a few
with a tacked bottom and tunable top head. All the drums have of these influences.
the original calf skin Here at the NDM, we
heads. The rarest take Buddy Rich very
item on this set is seriously and we have
the 1939 Walberg a few special items
and Auge “Twinsok” from his band. These
double hi-hat stand. include a vintage 1968
Only a few of these Slingerland BR model
are known to exist! drum set that Buddy
played in a music store
1938 Gene Krupa clinic in Las Vegas for
Super Radio King a group of high school
Deluxe Ensemble students. The owner
with 1940 of the music store kept the set for his son to play, and we acquired
mounted bongos. it from the previous owner. The set consists of a 14x24” Bass
drum, 9x13” tom, two 16” floor toms, 5.5x14” Artist model Snare
Gene Krupa is considered one of the top drummers of all time. drum, all in glistening WMP. Rounding out the set are Zildjian
His fiery solos brought the drum kit to the front of the band and cymbals, hi-hat stand, and even Buddy’s Bass drum pedal of
his innovations with the Slingerland Drum company paved the choice, a Rogers pedal
way for the modern drum kit that we know today. Gene’s first with a wood beater.
professional kit consisted of a bass drum, snare drum, mounted Behind the kit you will
Chinese tom, floor tom with tacked bottom and tunable top find a BR Slingerland
head, a couple small cymbals, and a hi-hat. In 1936 Gene asked saxophone player music
Slingerland to make him a tom-tom and floor tom with tunable stand that was used in
top and bottom heads. NDM has a wonderful example of a 1938 Buddy’s band. We also
Gene Krupa Super Radio King Deluxe Ensemble with a unique have a snare drum that
addition of 1940 mounted bongos at the museum. This set is was given to Buddy by
original WMP with all original calf skin heads from 1938. The set the Slingerland Drum
consists of a 26” Bass drum, 12” and 14” mounted toms and a 16” company for his 60th
floor tom in a cradle. The 6.5x14” GK model snare drum, wood birthday. It has a plaque
block, two cowbells, two Zildjian cymbals, and hi-hat, complete that reads “Sept 1977
this classic big band drum set. Happy Birthday Buddy from Slingerland Drum Co.” We have a
1941 WFL Ray Bauduc De Luxe Marble Capitol Outfit. great story that goes with this drum, but it’s too long to print…
Visit the museum and I will tell you the story!
This is a rare time capsule treasure that is one of our proudest
additions to the museum. This Dixieland Jazz set was only To learn more about the Northup Drums Museum, plan a visit
produced for one year in this configuration and hand painted in 2025, or for a virtual tour, go to www.northupsdrums.com
marble finish. Given that it was only produced for one year and or call 607-434-4769.

Modern Drummer December 2024 79

A Year in Concerts
Photos taken by Alex Kluft who
photographed over 250 concerts
in 2024. Thank you Alex!

Hannes Van Dahl,

Dan Wojciechowski, Sabaton,
Peter Frampton, YouTube Theater,
Greek, 4.13.24 10.15.24

Gojira, BMO Stadium, 10.5.24

Scott Travis,
Judas Priest
Charlie Benante, Pantera YouTube Theater,
MSG, 2.22.24 10.15.24

Steve Jordan, Rolling Stones

SoFi Stadium-7.13.24
Slim Jim Phantom,
Stray Cats
Brian Frasier-Moore P!nk 2CEKƂE#ORKVJGCVGT
Petco Park, 9.11.24 8.1.24

Glen Sobel, Alice Cooper

Walmart Amp., 9.17.2
Sal Giancarelli
Staind Charles Haynes,
Honda Center, Maxwell
10.13.24 KIA Forum, 10.27.24

Ginger Fish, Rob Zombie,

Walmart Amp., 9.17.24 Payge Cooper,
Patrick Wilson, Nikka Costa
Weezer, Intuit Dome, Teragram Ballroom
10.11.24 9.30.24

Jonathan Mover, Progject Josh Dun,

Sony Hall, 6.29.24 Blizzy
Twenty One Pilots G-Eazy
Intuit Dome, Van Buren
8.28.24 10.28.24

Bill Bruford
Danny Carey,
Sony Hall, 6.29.24 Michael Cavanagh, BEAT
King GIzzard Humphreys,
80 Modern Drummer December 2024 KIA Forum, 11.1.24 11.9.24
Hans Zimmer Percussion Section Gregg Bissonette, Ringo Starr Josh Freese, Foo Fighters
Crypto Arena,10.1.24 Greek Theater, 9.8.24 Petco Park 8.7.24

Walfredo Reyes Jr, Ray Yslas, Victor Indrizzo,

Colin Brittain, Linkin Park Chicago Alanis Morissette,
Barclays, 9.16.24 Kavli, 2.25.24 KIA Forum, 8.10.24

Cindy Blackman
Santana
John Otto, Limp Bizkit Jason Bonham, Sammy Hagar Seminole Hard Rock,
iThink Ampitheater, 8.6.24 KIA Forum, 8.19.24 6.14.24

Eric Kretz, Ringo Starr

Dirk Verbeuren, Megadeth Stone Temple Pilots Greek Theater
YouTube Theater, 8.9.24 YouTube Theater, 8.18.24 9.8.24

Shane Hawkins, Brann Dailor

Chevy Metal Mastodon Stanton Moore, Galactic
Dreamland, 7.5.24 KIA Forum, 8.21.24 Daze Between, 5.1.24

Santa Davis,
Ziggy Marley
Santa Barbara Bowl, Art Cruz, Lamb of God Tre Cool, Green Day
7.21.24 KIA Forum, 8.21.24 SoFi, 9.14.24

Al Cleveland, Jimmy Chamberlin, Chad Smith,

Melanie Martinez Smashing Pumpkins Red Hot Chili Peppers
KIA Forum, 5.15.24 SoFi 9.14.24 Seminole
ModernHard Rock,
Drummer 6.23.24
December 2024 81
A Year in Podcasts
The Modern Drummer Podcast has featured many of the best drummers and artists in the game. Don’t sleep on it in
2025—subscribe on YouTube or wherever you get your podcasts!

82 Modern Drummer December 2024

83
A Year
In Rundowns
2024 featured 47 episodes of Modern Drummer’s popular “Tour Kit Rundown” YouTube series, highlighting some of the best
professional drummers in the game and the gear they use on the road, performing for thousands of fans. Pictured
throughout this gallery are Modern Drummer CEO and Host David Frangioni, Producers Jason Mehler and Felipe Laverde, Photographer
and Coordinator Alex Kluft, MD Columnist Danny “Ziggy” Laverde and Videographer Tyson Francion. Here’s to another successful year of
featuring the best drummers in the world as they tour with the industry’s most cutting-edge technology and gear.

Brooks Wackerman,
Chad Sexton, 311 Charlie Benante, Pantera Avenged Sevenfold

Andy Hurley, Fall Out Boy Zac Farro - Paramore Steve Durham - Louis Tomlinson

Danny Carey, TOOL Butch Vig, Garbage Haze Amaze, NAS

Van Romaine, Enrique Iglesias Craig Macintyre, Goo Goo Dolls Chris Frazier, Foreigner

Shannon Larkin, Godsmack Davier Perez, DevilDriver Mario Duplantier, Gojira

84 Modern Drummer December 2024
Anton Hochheim,
Beach Fossils Patrick Wilson, Weezer

Shaun Foist, Breaking Benjamin Hayley Brownell, Olivia Rodrigo

Jason Hartless, Ted Nugent John Otto, Limp Bizkit

Barry Kerch, Shinedown Chris Woody Wood, Bastille

Giulliana-Merello, Karol G

Frank Zummo, Sum 41 Nic Collins - The Effect

Modern Drummer December 2024 85
 Ray Luzier, Korn

Roy Mayorga, Ministry Todd Sucherman, Styx

Jimmy Chamberlin,
Chris Warren / RHCP Smashing Pumpkins

Mike Miley, Rival Sons Brandon Pertzborn, The Offspring

Carlos Palmet, Pitbull Mike Wengren, Disturbed

86 Modern Drummer December 2024

Tony Escapa, Ricky Martin

Chris Maas, Sting Stephen Perkins, Jane’s Addiction

Cindy Blackman Santana Ian Paice, Deep Purple

Virgil Donati, Asia Bruno Esrubilsky, Mitski

Ralph Rolle, Nile Rodgers & CHIC Carlin White, Lana Del Rey

Modern Drummer December 2024 87

 Modern Drummer always enjoys spotlighting new recordings that have the drums at the center of their sound.
These recordings in all styles might be drummer-led, or just include a high-quality, special, or unique drumming and
musical performances from the drummer and/or musicians in the band. In 2024 Modern Drummer chose to highlight
over 100 new recordings of the several hundred we received; in our 2024 year-end issue we have gone through all
the recordings that we spotlighted to select an Out Now, Best Recordings of 2024. We encourage our readers to listen
to the recordings that inspire them and keep looking for new musical avenues to explore. Truly great drumming lives
inside of great music, these are the recordings that have been spotlighted in Out Now and have some of the best
drumming performances of 2024. You’ll never know what new music you might find inspiring! Listen and learn.

Wayne Shorter massive Peter Gabriel fan, but this is a fantastic record! It harkens
Celebration to some of his best pre-So music, and even has a few Steam-
Brian Blade drums like tunes with strong hooks. The songwriting is classic Gabriel,
Blue Note Records the production is stellar, and if you choose to purchase the
package with the Bright Side, Dark Side, and In Side mixes, and
The quartet of Wayne
you have a strong interest in music production, you will be very
Shorter, Danilo Perez, John
happy with everything that is Peter Gabriel i/o. Drumwise, Manu
Patitucci, and Brian Blade was
Katche’ does what he does best, he stays transparent within the
a permanent fixture in the
music, offering subtle yet strong drum grooves. One of Manu’s
jazz world for 18 years. In that
strongest attributes is how he interacts with percussion and
time the quartet released four
rhythm programming, and this record has a lot of that, including
critically acclaimed recordings
some wonderful contributions from Brian Eno and Richard
including 2006’s Grammy
Chappell. There is even a drum loop by Steve Gadd on one track.
Award winning Beyond the Sound Barrier. It turns out that there
To say that i/o was worth the wait sounds trite, but it was. Gabriel
are many more live recordings to come. Wayne Shorter died in
says he has enough music for another record, let’s hope we don’t
2023, and in his final year he kept very busy reviewing all those
have to wait 20 more years.
live recordings in a celebration of his other-worldly quartet. This
is Volume 1 of that Wayne Shorter Celebration that was recorded
October 18, 2004, in Stockholm, Sweden. The two CD’s capture The Chick Corea Elektric Band
a truly breathtaking performance, and all of the musicians draw The Future is Now
their inspiration from the mercurial bandleader and composer. Dave Weckl drums
This is music that coalesces and is created for the first time in Candid Records
front of your ears. These are masterful, composed, spontaneous, The music world misses the
musical paintings that the entire quartet creates and meditates legendary Chick Corea, as do
upon. This is deeply emotional music, that might go above some us drummers. His music was a
people’s heads, and that’s ok. The quartet is telling Shorter’s guiding light throughout his
impressionistic musical stories for the listener to get lost in. Brian career. Thankfully, he was in
Blade rumbles, prods, slashes and burns, and swings through the midst of producing this
these stories to create the perfect frame for Shorter’s canvas. live reunion record (with Dave
Blade’s sound, touch, and musical taste is on full display. Brian Weckl) when he died. So many
Blade knows what to play, but most importantly he knows when of us were fans of this band, and we are reminded why with this
NOT to play. It was Shorter’s musical concept that fueled this coda to a fantastic life of creating wonderful music. The classic
quartet, but it was Blade’s drumming support behind Shorter, lineup of Patitucci, Gambale, Marienthal, Weckl is featured on
Patitucci, and Perez’s musical twists and turns that made two CD’s worth of Chick’s choice of live recordings from 2016,17,
this quartet one of a kind. Of special note is to read Shorter’s and 18. The tunes span the band’s career from early era “Got a
handwritten thoughts-notes of the music as he listened to it. Match” to the multi-layered “Behind the Mask,” and the band’s
I hope we can look forward to many more volumes of Wayne final outing of “Alan Corday” (which is performed entirely
Shorter Celebration. with acoustic instruments.) As anything that Dave Weckl (and
Bernie Kirsh) touch, the sound of this recording (and the drum
Peter Gabriel sound) is amazing. What a treat it is to hear this music that was
i/o originally created in a different era of music, performance, and
Manu Katche’ drums production reinterpreted by the same musicians. The result are
Ged Lynch percussion earthier, grittier, and more mature performances. Not better, not
Real World Records worse, just different. The band had grown a lot (as we all do.)
This record is a wonderful document of that growth, and the
After 20 years of waiting
groundbreaking music that this band created. And Dave Weckl
Peter Gabriel has returned with
sounds better than ever, just listen to the groove on “Charged
a brand-new record. And one
Particles,” and the trading on “Got a Match?”
of the best rhythm sections
in modern rock of guitarist
David Rhodes, bassist Tony Levin, and drummer Manu Katche’
is featured throughout. To be completely transparent, I am a

88 Modern Drummer December 2024

 thanks Sam First for “catching and releasing” this music, and I
Knocked Loose cannot agree more. “Church of Bill Hilton” takes us to church, and
You Won’t Go Before You’re “New Wave Theater” wheels an old black and white TV into the
Supposed To church. “New Jersey Ballad” places that church into rural New
Kevin “Pacsun” Jersey, and “Fugue Robotique” puts that whole scene next door
Kaine drummer to an 80s arcade playing German synth-pop.
Pure Noise Records “New Wave Theater” slowly builds to a roar featuring Guiliana’s
Knocked Loose’s third full signature slash and burn chatter. While “Fugue Robotique”
length album You Won’t Go creates a distinguishable mood that only this trio could create,
Before You’re Supposed To, sets and Guiliana dances around that mood playfully. Mark Guiliana
a tone and carves out a place also brings the peaceful composition “New Jersey Ballad” to
for the band in the highly cleanse the musical palette. Babko, Lefebvre, and Guiliana are
dense hardcore/metal genre. equal inhabitants in Clam City, and they all bring their “A” games.
The band seems to have found their own voice with this LP. This
is largely due to their secret weapon, drummer Kevin “Pacsun” Alyssa Allgood
Kaine. From start to finish this album feels like a tornado leaving From Here
nothing but destruction behind mostly due to Kevin’s insane feel Kendrick Scott drums
and playing ability that feels nothing but smooth and original. Next Records
Just listen to the third track “Suffocate,” from the double bass
to the reggaeton groove, this track perfectly shows that Kevin’s OK, yet another record from
drumming is not only something to look out for, but is pushing a talented young jazz singer
boundaries in hardcore/metal music. singing the same ol’ standards,
right? NOPE! Singer Alyssa
Allgood is a special talent,
The Pineapple Thief and she has put together a
It Leads to This killer BAND! Pianist Geoffrey
Gavin Harrison drums Keezer, bassist John Patitucci, and drummer Kendrick Scott
Kscope Records are a trio to be reckoned with! And their playing (not “just”
There are so many bands accompanying) behind Allgood and saxophonist Greg Ward
out there that don’t get the is breathtaking. From the opening notes of “Burn (For Betty)”
attention they deserve, and we know we are in for something really special. Except for Joni
Pineapple Thief leads the Mitchell’s “Both Sides Now” and “On a Clear Day,” which are both
pack. Formed by songwriter stellar performances, Allgood also wrote all of the songs and
and multi-instrumentalist created all of the arrangements. Again, something really special
Bruce Soord in 1999, their is happening here. This is a beautiful record, and a real musical
atmospheric melodicism is surprise! I can’t wait to hear more from Alyssa Allgood and this
some of the best music being produced today. When drummer amazing trio!
Gavin Harrison joined in 2017, the band took everything to a
new level. Now the well-constructed tunes are driven by well- Ghost-Note
designed and orchestrated grooves by a drumming monster. Mustard ‘n Onions
Gavin’s drums always sound fantastic, his grooves are always Robert “Sput” Searight drums
interesting and super creative, and this record is no exception. Nate Werth percussion
Listen to his drumming architecture on “Rubicon” and “It Leads Mack Avenue Records
to This,” and the massive groove on “The Frost.” This is super-
intelligent pop delivered in 5-minute (ish) songs, not 12-minute Since leaving Snarky
rock symphonies featuring over the top proggy shredding. This Puppy and Toto, drummer
is Pineapple Thief’s best record yet! I can’t wait to hear this music Robert “Sput” Searight and
played live on their upcoming tour. percussionist Nate Werth
have been leading the
band Ghost-Note, and the
Jeff Babko, Tim Lefebvre, outstanding Mustard ‘n Onions
Mark Guiliana is their third and best release. Their music is James Brown on
Clam City steroids meets Tower of Power mixed with an entire menu of
Mark Guiliana drums contemporary influences from J Dilla to Fred Hammond to DC
Sam First Records Go-Go to D’ Angelo. Yup, it’s that good! This is fun, good time,
Here’s a piano trio for funky music. The horn section is tight, the tunes are smokin’, the
the ages. Imagine a cross rhythm section is on fire, and the pocket is deep! There is even
between Thelonious Monk, a string section and nice string arrangements to set a nice 70s
Kraftwerk, Billy Preston, CTI vibe on several tracks. I can’t say enough about this new
Devo, Keith Jarrett, and Bob record, it is by far their best yet! Trombonist Danny Wytanis and
Dylan… or maybe don’t. I love guest saxophonist Casey Benjamin play some wonderful solos,
music with a sense of humor, and this music has as many smiles as does special guest Bernard Wright. Then there is the always
(and laughs) in it, as it does notes. In his liner notes, Jeff Babko percolating and infectious groove of “Sput” and Nate. These

Modern Drummer December 2024 89

 two can weave a groove like no other, check out “Poundcake,” Cactus
“Phatbacc,” and “JB’s Out.” It must be mentioned that “Sput” Temple of Blues, Influences and
Searight also wrote or co-wrote all the tunes on the record. Get Friends
Mustard ‘n Onions and try not to dance and smile, I dare ya! Carmine Appice drums
Cleopatra Records
Mannequin Pussy Jim Stapley, Jim McCarty,
I Got Heaven the departed Rusty Day,
Kaleen Reading drums Jim Caputo or the late Tim
Epitaph Bogert, and Carmine Appice
Philadelphia’s Mannequin are the real and original
Pussy’s head banging and Cactus, and this is their first
emotional fourth full length recording since legendary
LP I Got Heaven is one of the bassist Tim Bogert passed
best rock albums of the year. away. I’m sure Bogert would
Laying down the foundation be happy to know that modern bass greats like Billy Sheehan,
for these perfectly crafted Bob Daisley, Rudy Sarzo, Phil Soussan, Dug Pinnick, Tony
songs is Kaleen Reading. Franklin, Kenny Aaronson, Jorgen Carlsson, and Marco Mendoza
From fast punk inspired have stepped up in his absence to create another great Cactus
beats to slow brush work, Kaleen’s playing perfectly fits with the record. But it’s not just the bassists that helped the fellas build
dynamics on this album. The mosh pit inducing track “OK? OK! upon the infamous Cactus legacy. Guitarists Joe Bonamassa,
OK? OK!” shows how technical and powerful Kaleen’s drumming Bumblefoot, Johnny A, Warren Haynes, Steve Stevens, Pat
is, while tracks like “I Don’t Know You” and “Loud Bark” show Travers, Ted Nugent, Vernon Reid, Ty Tabor, and Fernando
Kaleen’s dynamic ability. Mannequin Pussy is a band to watch Perdomo all answered the call from Appice and company. As you
out for in the upcoming year with several legs of sold-out shows. would expect, everyone’s playing is amazing, but it the cohesive
nature of the record that is a real surprise. Temple of Blues
Shelly Berg sounds like a band of great musicians turned up to 11 in a room
Alegria together, playing tight and powerful arrangements, and playing
Dafnis Prieto drums their asses off. The one constant on the record is Carmine
Artist Share Music Appice’s production and mighty intense hard rock drumming. As
any great drummer does, he raises everybody’s game and makes
Imagine a Chick Corea everyone sound fantastic. This ain’t no “special guests” phoning
trio recording that you have in the solo’s, vibe-less record, this is a real rock and roll record,
never heard before, with the Cactus is back! (Maybe they never really went away.)
bass playing of Carlitos Del
Puerto and the drumming of
Dafnis Prieto expanding and Robby Ameen
contracting the pulse and Live at the Poster Museum
playing inside of a deeply Robby Ameen drums
harmonic and loose Latin Origin Records
influenced jazz framework. This is one of the best
The Latin influences are not drummer led records that I
overt, but the playfulness and the rhythmic excitement is very have heard in a long while.
present and self-evident. The music swings hard but is also We can tell that many of these
expansive, slightly introspective, and creative (without having musicians have been working
any pretense.) Now change the bandleader’s name from the together for a while in Conrad
legendary Chick Corea to the lesser-known Shelly Berg, and Herwig’s Latin Side… band.
that’s what you have in Alegria. Yes, I know that’s high praise, and However, under Ameen’s
let’s be clear, that comparison comes from me, NOT Shelly Berg. leadership the Latin flavors
But that’s what I hear in the music on this FANTASTIC record! get further twisted into a mélange of fusion, jazz, Latin, groove,
Prieto and Del Puerto make an amazing rhythmic team, and and everything else; “Ameenmusic” if you will. And with Ameen’s
Berg’s piano playing and touch is gorgeous, and let’s not forget first live recording of his band, the music really jumps out of
Shelly Berg’s wonderful compositions (not to mention Melvin the speakers. His writing allows everyone the space to stretch,
Butler’s guest saxophone on two tracks.) I could go on for days let go, and have fun! As it often does, the sound of the Fender
dissecting the entertaining intricacies of this recording, Shelly Rhodes helps set the tone, there is nothing “traditional” on this
Berg’s Alegria is an instant jazz piano trio classic! recording. Ameen and bassist Lincoln Goines complete each
other’s thoughts and phrases, and they shift with ease behind
the soloists, listen to “Una Muy Anita.” I also like Troy Roberts’
electronically effected saxophone. ”2’s & 3’s” is so funky it’s just
not fair, think James Brown meets Eddie Palmieri. And “Oleo”
has never sounded like this, listen to Troy and Robby’s amazing
duet! The Tower of Power meets Bitches Brew of “Lucia’s Wawa” is
simply amazing. This is a wonderful record that every drummer
will enjoy!

90 Modern Drummer December 2024

 Louis Cole & The Metropole
Maruja Orkest, Conducted by Jules
Connla’s Well Buckley
Jacob Hayes drums Nothing
Music for Nations Louis Cole drums
The sophomore EP from Brainfeeder Records
up-and-coming jazz punks Drummer, solo artist, multi-
Maruja has many heads instrumentalist, engineer,
turning and asking who and mixer, producer, and musical
what is this? The quartet from virtuoso Louis Cole has
Manchester, England have released his most ambitious
been selling out their tours album to date. This clever
and playing the festival circuit mashup of jazz, funk, orchestral, pop, electronica, classical, and
with a fierce and unapologetic live show. If Elvin Jones and Bill fusion takes the listener through a new and refreshing journey.
Ward had a baby it would be Jacob Hayes, the drummer holding Despite all these genres and influences being fused the album
it down for Maruja. Put on the single “The Invisible Man” and let still feels cohesive. The tracks “Life” and “Things Will Fall Apart”
Jacob and his band mates take you away, you won’t regret it. His show all these genres on single tracks and Louis’ drumming
aggressive but pleasant drumming fits perfectly under the punk shines through this perfectly crafted chaos. Louis’ unique and
inspired vocals and jazz inspired bass and saxophone. incredible grooves and drumming shows that he never fails to
deliver in any project.
David Weiss Sextet
Auteur Ches Smith
E.J. Strickland drums Laugh Ash
Origin Records Ches Smith drums
The liner notes to David Pyroclastic Records
Weiss’ new record delve into Drummer Ches Smith is
a deep explanation of its one of those musicians who
title, Auteur, and I suggest has been quietly becoming a
reading the fascinating and giant in drumming. In a recent
educational essay. Weiss Modern Drummer interview
is a composer, a trumpet Pete Magadini told me that
player, and bandleader of Ches is, “One of the forefront
several groups. But I believe his sextet (heard on this recording) drummers of our time.” He
gets the closest to the core of the person and the musician. has worked with John Zorn,
Auteur’s music is rooted in Freddie Hubbard, Herbie Hancock, Dave Holland, David Torn, and
Joe Henderson, Bobby Hutcherson, and Wayne Shorter. And in Mr. Bungle. Ches’ new record
my opinion, Weiss is carrying on their tradition and making all of Laugh Ash sometimes hits
them very proud. me as a Peter Gabriel record
Drummer E.J. Strickland has been on the New York jazz scene without Peter Gabriel (if that makes sense.) There are machines,
for a long time, he is neither a young lion nor an old master. loops, electronics, and drums all combined to create a beautiful
And while new generations of hot new young drummers have pad for the ensemble of musicians to perch upon and leap
come and gone, E.J. remains a strong presence on the scene and into midair, not knowing exactly where they’ll land, but always
in the music that he plays. He really brings Weiss’ sextet to the landing in an interesting place. This is very sincere music that
next level. Floating, pushing, prodding, instigating, and falling is at one time haunting and then hysterical. Smith is painting
into step; E.J. Strickland plays with the exploratory attitude of beautiful soundscapes for his band to interact with. Creativity
Joe Chambers, Tony Williams, Pete LaRoca, and Jack DeJohnette. and groove reign supreme on Laugh Ash and in everything Ches
However, he never sounds “like” any of them. His is a singular Smith does.
and very special drumming voice. With bassist Eric Wheeler, and
pianist David Bryant, this rhythm section lays down a canvas Rodrigo Recabarren - Pablo
that allows the soloists (Weiss, saxophonist Myron Walden, Menares -
and Nicole Glover) to go anywhere and explore anything, Yago Vasquez
and they do. Auteur is mature but accessible music, the whole Familia
band sounds great, and Weiss has created the perfect context Rodrigo Recabarren drums
and compositions, but E.J. Strickland is the engine that moves Greenleaf Records
everything along. Listen to his compositional drumming on “The Unfortunately, “Latin”
Other Side of the Mountain,” and his amazing “connect the dots,” music all gets thrown into
soloing on “Rebop.” You won’t be disappointed! a big barrel, and that is
unfortunate. Spain, Cuba,
Brazil, Argentina, Columbia,
Mexico (and others,) all
have deep musical cultures and traditions with ancient roots,
and different sounds. With Familia we can add Chile’ to the

Modern Drummer December 2024 91

 ever-growing (and my incomplete) list of (so-called) “Latin” jazz Kamasi Washington
music. By reading the notes to this record I believe the members Fearless Movement
of the trio are all from Chile,’ which casts this band’s music in a Ronald Bruner Jr. and Tony
much different light than you might expect. It leans more on Austin drums
subtle impressionism than overt Latin “fire.” What a wonderful Allakoi Peete and Kahlil
recording this piano trio has created! Familia is not a “Latin-Jazz” Cummings percussion
record, it is a “Jazz-Latin” or maybe more appropriately a Chilean- Young Recordings
jazz record. The members of the trio composed all of this richly Kamasi Washington is
harmonic, melodic, and rhythmic music. Whatever you call it, once again pushing the
this is a beautiful record filled with beautiful music which (unless boundaries on Jazz Music.
you are a resident or visitor of Santiago) you might not have ever The saxophonist and
heard before. bandleader’s latest release
Fearless Movement blends
Keith Jarrett hip-hop, jazz, soul, and funk. His all-star cast includes drummers
The Old Country Ronald Bruner Jr. and Tony Austin with Percussionist Allakoi
Paul Motian drums Peete and Kahlil Cummings. On most tracks all four of them are
ECM playing together which creates a transcending journey to the
When Keith Jarrett listener. The track “Road to Self (KO)” perfectly demonstrates how
recorded Live at the Deer Head two drummers and two percussionists lay the foundation and
Inn in 1992, and ECM released make some incredible music over which Kamasi does this thing.
the recording in 1994, the This album is a must listen for any music lover. Every track is
musical and the drumming solid and creates a spiritual and peaceful listening journey.
world went crazy. As he did
from 1967 to 1976, drummer
Paul Motian was playing with
Keith Jarrett again!!! But this time it was in a trio, and drummers The Smile
rejoiced. Now almost 20 years later, we find out that there is Wall of Eyes
enough music to provide an entirely new recording from the Tom Skinner - drums
trio’s stay at this smalltown rural Pennsylvania jazz club, and that XL Recordings
ECM is finally releasing it; jazz fans and drummers are rejoicing The Smile’s Wall of
yet again! Eyes is a genre-defying
Since Paul Motian died in 2011, and Gary Peacock passed journey, blending art-rock
away in 2020, and because of Jarrett’s health issues starting in experimentation with
2018, it has been unfortunately evident that there would be no intricate rhythms and
“new” Keith Jarrett trio recordings (with Jack DeJohnette, Paul textures. At the core of the
Motian, or anyone else.) This makes this “new, old recording” album is Tom Skinner’s
even that much more special. From Paul Motian’s rolling dynamic drumming, which
entrance on “Everything I Love” it’s clear that Jarrett, Peacock, offers a rich tapestry
and Motian are locked in and dealing! It’s even possible that the of grooves and sonic details that push the boundaries of
music on this second volume of this special “one time only gig,” conventional rock percussion. Skinner seamlessly fuses his jazz
is even more intense than the music on the first recording. The background with the album’s avant-garde sensibilities, creating
eight’s on “Everything I Love” are priceless. Motian’s timekeeping beats that are as unpredictable as they are compelling. Tracks
on “Straight No Chaser” is just classic Motian. Listen to how he like “Blind Signal” feature cascading polyrhythms, with Skinner’s
plays around Jarrett’s lines, and Peacock’s pulse. Even better light touch on the hi-hats weaving around syncopated snare
are Motian’s rumbling 12 bar choruses on “Straight No Chaser,” patterns. On “Fractured Light,” his restraint builds tension,
which are “almost-fall-off-the-cliff” exciting. Motian’s brush utilizing brushes and muted tones to create an atmospheric
playing behind on “Someday My Prince Will Come” and “Golden machine that mirrors the song’s haunting melody. The title track,
Earrings” shows again that Motian’s brush playing has no equal. “Wall of Eyes,” is a drumming showcase, with Skinner shifting
And Paul’s ride cymbal pulse and his overall sound on the title from driving, rhythms to fills that feel almost improvisational.
track is just breathtaking. It’s no surprise that these recordings The drum production is intentionally raw, highlighting the
were produced by a fantastic drummer, thank you Bill Goodwin, organic interplay between Skinner’s kit and the band’s textured
and ECM for producing and finally releasing this special and soundscapes. With Wall of Eyes, The Smile once again proves
essential music! they are redefining modern rock, and Tom Skinner’s drumming
is both the anchor and the catalyst for their bold explorations.

92 Modern Drummer December 2024

 In Modern Drummer’s monthly Out Now column we review the best and latest drumming instructional books. Most recently we
have also been reviewing the many books written about drummers’ lives. So many drummers have interesting stories to tell, and
Modern Drummer can’t do it alone! Many wonderful books come out every year and 2024 was no different. These books are enough
to fill any bookshelf and make the music stand in your practice room collapse under the weight. It can become daunting to keep up
with everything that is released, and even more daunting to figure out exactly what to (and what not to) practice.
The 2024 list includes instructional books that detail new concepts to help us become better drummers. The books about the lives
of drumming greats help us learn from their successes and shortcomings to better our own drumming, careers, and lives. We have
also reviewed some excellent historical music books that detail the fascinating history of different types of music. These are the BEST
books that Modern Drummer has received and reviewed in 2024.

Steve Gadd: A Life in Time and done project of music as history. But when hip-hop’s 50th
By Joe Bergamini and anniversary came around, everybody started asking me about
Steve Gadd it. Hip-hop is close to my heart because I am a part of it. I could
Hudson Books be more honest about my opinions of certain rock, soul, disco,
The new book GADD: A Life or jazz because I’m in it, but not of it. I still feel like I’m more of
in Time came out in early 2024. a fan of that music than a part of the establishment. When it’s
The book is a comprehensive hip-hop, I’m really a part of it…” Both books are very good and
biographical, pictorial, and highly recommended to any drummer, fan, or student of music!
musical retrospective on the
career of legendary drummer
Steve Gadd. The story is
Drums & Demons: The Tragic
told through Gadd’s eyes
Journey of Jim Gordon
and ears, and many musical
By Joel Selvin
legends contributed views Diversion Books
that complemented Steve’s
own memories. The package comes with not only the 236-page Many younger drummers
main book, but also a separate, spiral-bound, 82-page book of might not be aware of Jim
all the music notation contained in the hardcover book, along Gordon, but they all should
with over eight hours of online video. The book contains Gadd’s be! It is his inclusion in Eric
biography, drumming transcriptions, musical analysis, many Clapton’s Derek and the
interviews, information on his equipment, views on music, Dominoes that is usually
drumming, and life… And music, lots and lots of music. This discussed. It is his playing
outstanding book is essential reading for all drummers and on a generation of hits that
musicians. lives in musical lore. And
it is his magical drumming
that we all hold near and
dear. Unfortunately, it is
Hip-Hop is History also the gruesome crime
By Questlove with Ben that he committed that
Greenman must also be remembered. However, it is his suffering of, the
Auwa Books ignoring of, and the lack of treatment and understanding for,
Hip Hop is History is his mental illness that we should learn from. So how do you
Questlove’s second book tell this complicated story? Publisher’s Weekly says it perfectly,
(the first was called Music is “Without downplaying the gruesome details of Gordon’s
History,) and they both follow crime, Selvin gracefully portrays the musician as ‘more than
the same basic structure, the his disease.’ Joel Selvin’s affecting account sheds new light on
books are an extension of one of rock’s most complicated figures.” With full cooperation
Questlove’s DJ career. They are from the late Gordon’s family, and based on his trademark
Questlove’s detailed accounts extensive and detailed research, Joel Selvin’s account is an epic
of music history. They tell journey through an artist’s monumental musical contributions.
how his life and evolution Along the way he tells the important history of rock drumming
as a creative musician has and details the terrifying downward spiral into unimaginable
been affected by, and how he madness that Gordon fought a valiant but losing battle against.
has been involved in, music This is not the happiest of stories to read, but in today’s troubled
history. They are fascinating world, it is a necessary story to hear. For the drummer-reader
looks at the history of music, Questlove’s drumming and it’s essential learning about one of the most influential rock and
musical career, and how his drumming and music has fit into studio drummers of all-time.
the history of music and hip-hop. The format of the books is
an entirely new way to look at all these subjects. They are both
highly educational, informative, and entertaining. He explains
his books this way, “Music Is History was supposed to be a one

94 Modern Drummer December 2024

 music than this one.” T Bone Burnett says, “Joe Boyd has an acute
ear for music and an astute eye for talent that has led him around
the world, recording and returning with music that has been and
will be an indelible and fascinating part of our culture. Here he
reveals the searching intellect the generous spirit and the deep
Narada Michael Walden: heart beneath his extraordinary life’s work.”
Drumming, Spirit, and Music This book is an outstanding telling of how the far-flung
By Aubrey Dayle musical traditions of the world have influenced the popular
Hudson Music music through the decades and across the continents. He
There might be some documents how of Indian music, Tango, Latin dance music,
drummers that don’t recognize Reggae, Bossa-Nova, and Gypsy music have influenced
the name Narada Michael everything we hear today. Boyd was one of the people that
Walden. He is a legendary chose the term “World Music” in the 80s with his Hannibal
drummer that is best known Records and produced music from Cuba, Brazil, Bulgaria, Mali,
for his work with Jeff Beck, Hungary, Spain, and India. The interviews and research in this
the Mahavishnu Orchestra, book with reshape how you think about and listen to modern
and Allan Holdsworth. He is popular music.
also a bandleader, songwriter,
and producer of hit record by
Whitney Houston and Aretha
Franklin. Moments in Time: Jeff
Porcaro Stories
Aubrey’s Dayle’s new book By Robyn Flans
on the legendary Narada Michael Walden is an amazing book Hudson Music
that will inform and teach us all about the drumming, spirit,
and music of the great Narada Michael Walden. Complete with It turns out that nearly
a foreword by Billy Cobham, and a preface by Kenny Aronoff, everyone in the music
Walden’s life, career, and influence are deeply discussed. Within industry has a great “Jeff story”
the 240-page book there is set-up information, transcriptions, a about the legendary drummer
discography, interviews with other musicians (including Steve Jeff Porcaro. He touched so
Smith and John McLaughlin) about Narada, quotes from other many lives in his 38 years, that
drummers, and much, much, more. Narada Michael Walden: a true representation of his
Drumming, Spirit, and Music is a high quality and worthwhile enormous influence could
read (and study) about a legendary human being, musician, and not be complete with just
drummer. one book (if it could ever be
complete from merely words
on a page.) When Robyn Flans
wrote her first book about
And the Roots of Rhythm Jeff (called Jeff Porcaro: It’s
Remain: A Journey through About Time - The Man and His Music,) she was inundated by many
Global Music first-hand anecdotes and entertaining stories about Jeff. There
By Joe Boyd were also the people who didn’t get the memo about Robyn
Ze Books writing the book, and therefore weren’t able to contribute. All
of this made a second book of stories about Jeff a necessary
Joe Boyd is a legendary and warranted follow-up. The insight that all these stories
record producer of records impart only scratches the surface of Jeff’s “beyond his years”
by Pink Floyd, Nick Drake, wisdom. As with much of the best advice sometimes you must
REM, Taj Mahal, Fairport read between the lines, but Jeff’s “old soul” intelligence comes
Convention, Richard and through loud and clear in this collection of “Jeff stories.” The
Linda Thompson, and 10,000 many tales are (thankfully) not always exactly politically correct,
Maniacs. He was also the but they are entertaining and insightful. These stories tell us
Director of Music Services for about a person that was given a great groove, sense of humor,
Warner Brothers Films, and and spirit. All of Jeff’s humanity and wisdom was emblazoned
as a film producer he has upon the music that he created and felt by the friends that he
produced films on Aretha made through playing music. In Moments in Time: Jeff Porcaro
Franklin and Jimi Hendrix. Stories, Jeff’s musical friends get to share the hilarity, humanity,
The mere title of his new book grabbed me instantly. And the and wisdom surrounding the music and behind the drumming.
Roots of Rhythm Remain comes with high praise from two of the
most influential musicians of our time. Brian Eno says,” What an
amazing book! Joe Boyd has distilled decades of experience and
observation of how musical ideas interbreed and how culture is
formed, into a tumultuous, gripping, and dramatic story. I doubt I’ll
ever read a better account of the history and sociology of popular

Modern Drummer December 2024 95

 The King of the Groove: The
John JR Robinson Story
By John JR Robinson
Self-Published
John JR Robinson is one of 20 Modern Snare Drum Solos,
the most recorded drummers A Rhythmic Journey
ever, and this book tells the By Daniel Bedard
story of exactly how that Wizdom Media
happened. In the book, John This new book is a very
tells the story of his life and needed addition to the
career, and how he fell in modern snare drum canon. It
love with his own life, and is written for those of us that
how he paved the way for his have been going through
own career. It tells the story the snare drum repertoire for
behind his years at the Berklee most of our lives. After our
School of Music, his work with initial lessons, we have spent
Quincy Jones, Chaka Khan, years on Podemski, sight read
Michael Jackson, Steve Winwood, and many more. JR also gives Ron Spagnardi’s books, had
some fascinating stories about the producers and the studios the rudimental knowledge
where he has worked throughout the years. He also gives us an ingrained by Alan Dawson’s
insightful first-hand account of the session scene and how it has “Ritual,” taken the time to have our rudimental knowledge
evolved and changed through the years. The appendix offers a solidified by Wilcoxon, been driven to the practice room by
wonderful and exhaustive discography of Robinson’s recordings. Anthony Cirone and Mitchel Peters, and taken years to digest
Overall, JR’s book tells us how he became The King of the Groove. the harder Chaffee pieces. So what’s next? THIS book by Daniel
Bedard. Daniel has collected all the vocabulary from the above
and written 20 well-conceived pieces of snare drum MUSIC.
The pieces will be a worthwhile challenge for any intermediate
Brothers
drummer getting ready for a life in percussion. They will also be
By Alex Van Halen
a challenge for any advanced drummer who has gone through
Harper Collins Books
all the above-mentioned books. I must also applaud Daniel for
Alex Van Halen’s Brothers his chapter on applying sections of every piece to the drumset
is a wonderful about his for both groove and solo vocabulary. This is a wonderful idea
relationship with his brother and a great addition to this book. A few of the solos might
and legendary guitarist, be sight readable challenges for some, but most of them will
Edward Van Halen. It was be commitments to decipher, study, attack in sections, and
one of the most anticipated PRACTICE. Hold all my calls, I’ll be in my practice room for the
music and drumming related next few years with 20 Modern Snare Drum Solos… ignore the
books of the year. In the book screaming. Thanks Daniel!
Alex shares his personal story
of family, friendship, music,
and the American Dream,
in a remarkable tribute to Polyrhythms:
his beloved brother and The Hildebrandt Method
bandmate. This book details David Hildebrandt
the life of one of the most Aarhus University Press
influential drummers in modern rock music, and as with the life While there have been
of any successful person there is much to be learned from Alex’s many instructional books
story. We learn about the amazingly close relationship that the written on Polyrhythms, I don’t
brothers had, and the circumstances that created that bond. think any of them has been
Brothers is entertaining, heartfelt, and a very easy read. I cannot as thorough as this book.
think of a better way for anyone to pay tribute to a beloved In fact, for some, this book
family member and tell their story of an amazing career in music might be too thorough, but
and drumming. that’s a matter of opinion.
While I have studied, respect,
and have learned a great
deal from past books and the
teachings of Pete Magadini,
Gary Chaffee, and Ari Hoenig, Hildebrandt takes the study to a
much more scientific level. Don’t be scared off by the intellectual

96 Modern Drummer December 2024

talk or the 336 pages of text. While Hildebrandt addresses the
mathematical relationships of polyrhythms, (how can you not?)
He does not ignore the natural, physical, musical, and emotional
aspects of polyrhythms. While this isn’t a “polyrhythms in a day”
or “polyrhythms for dummies” type of book, it is thorough, well transcribed the rhythms of some great instrumental solos by
presented, and is a very logically presented tome on the subject. Chick Corea, Keith Jarrett, Charlie Parker, Dexter Gordon, Chet
It is a comprehensive presentation of the why, what, who, and Baker, and Ella Fitzgerald to be played on the snare drum and
how of polyrhythms. It details how to conceptualize, use, feel, orchestrated around the drum set. What a fantastic idea!!! When
and figure out, every polyrhythm you can think of (and many you play along with the recordings you can also feel, see, and
you haven’t!) I can’t wait to dig in and further my knowledge on hear how the drummers on these amazing tracks (such as Al
this fascinating subject with the help of this book. Foster, Paul Motian, Steve Gadd, Roy Haynes, and Max Roach)
interact with the soloists. Albie has also created a second version
of each solo that intersperses his own rhythmic fills within the
melodies and solos. This is a wonderful method of learning jazz
Drumming in Flow: drumming vocabulary that isn’t pattern and rudiment based. It
Concentration, Creativity, can really attune the student to using space and allowing the
and Breathing in Drumming music to breathe. Albie’s method also encourages creativity. This
By Ray LeVier book allows the student to learn about musical phrasing directly
Hudson Music from a few of the great jazz instrumentalists and vocalists. I am
If you are looking for a new so glad that Albie has created this book, embellished upon, and
book of strictly cool drum expanded this wonderful method. It’s very hard to create a new
licks and technique, this isn’t approach and system of learning and teaching, but Albie has
it. Drumming in Flow is MUCH done exactly that. Fans of Albie’s book and approach include Joe
more than just that. Just take LaBarbera, Danny Gottlieb, Ari Hoenig, and Adam Nussbaum…
a look at the table of contents: And Modern Drummer!!! Highly recommended!!!
The Science of Meditation,
Breathing Modalities for
Drummers, Introducing
Breathing Elements Into your Philly-Ism
Drumming, and The Pages By Tim Carman
of Positivity. WOW! However, there are some cool Gary Chaffee, Hudson Music
Tony Williams, and Vinnie Colaiuta licks in the second part of the 2024’s Philly-Ism is the
book under the chapters, The Power of Permutations and Filling second book in Tim Carman’s
in the Gaps with Syncopation. “Ism” series (the first was on
Drummer Ray LeVier has combined his inspirational and Roy Haynes.) These books are
philosophical outlook on drumming and life to help us all built on an idea based on a
become better drummers and people. He brings with him a quote from Bruce Lee. This
well-studied drumming and musical background and a lifetime adapted idea is stated on the
of performances to back everything up. Ray’s life includes a cover of the book and reads,
painful early chapter, but his resilience and dedication shines “I fear not the musician who
through to inspire us all. His book Drumming in Flow, and his has practiced 10,000 licks
outlook of mindfulness in music and life, is a breath of fresh air. once, but I fear the musician
Ray inspires everyone (musicians and non-musicians alike.) I’m who has practiced one lick
glad that he finally wrote it all down. 10,000 times.” Philly-Ism is
a unique analysis of Philly Joe Jones’ rudimental approach to
soloing, and a deep dive into Philly Joe’s use of the paradiddle.
It includes 18 solo transcriptions, nine of Philly Joe’s trademark
In the Pocket, phrases, and instruction on how to create your own variations
Jazz Snare Drum Solos on Philly Joe’s ideas. This series, and this book are a very unique
with the Legends: way to study, absorb, and build upon the legendary, relevant,
Play along with Chick, Keith, and influential vocabulary of great drummers, I can’t wait for the
Bird, Ella, & more next one in the series!
By Albie Berk
In the Pocket Publishing
Albie Berk is a longtime
professional drummer
occupying stages with the
best of the best, and his new
book is utterly fascinating and
truly original. Albie has

Modern Drummer December 2024 97

 A
s the music world continues to see a resurgence in Vinyl moved from Nefertiti (1968,) and Filles de Kilimanjaro (1969,) to
(LP’s,) Vinyl Me Please (VMP) is curating and producing the psychedelic intonations of Bitches Brew (1970,) and the blunt,
some of the best vinyl remasters and pressings around. ghetto melancholy of Water Babies (which combined outtakes
They are scouring the history of recorded music for forgotten from Nefertiti sessions,) into silence. A stupor of transition that
gems and negotiating with new labels to create pristine vinyl lasted about six years, from 1975 to 1981.
releases of classic and new music. Their records range from mu-
When he emerged, he was accompanied by Star People, and
sic recorded decades ago to the most recent and cutting-edge
the resolve to update his style yet again. Where the music just
releases. VMP are doing the work of curating the history of music
before his hiatus sounded menacing and urgent, like an adven-
to help listeners and vinyl connoisseurs create a well-rounded
ture with no clear aim but catharsis, Star People is patient and
and serious collection of high-quality vinyl-LP recordings. In our
unbothered as it strategizes coherence and rehabilitation in the
monthly Hand-Picked Vinyl column, the team at VMP spotlights a
calm after a crisis. Miles lets his accompanists Al Foster on drums,
couple of their newest vinyl musical masterpieces with significant
Bill Evans on saxophone, and John Scofield on electric guitar do
drumming and percussion embedded deep within those little
the agitating so that he can enter with angular blues accents. He
magic grooves of vinyl.
is a little moody, a little giddy to be retrieving his artistic center,
and as reserved as the center of attention should be to command
Ray Charles
real understanding. There’s a fluttering smile in the texture of his
Ray Charles in Person
playing that he curtails just enough to remain stylish and not too
Teagle Fleming
eager. -Harmony Holiday
on drums
Just as fascinating
Willie Nelson
as the actual music of
Phases & Stages
Ray Charles in Person is
Roger Hawkins on
the somewhat mythic
drums
backstory attached to it.
The most widely shared Willie Nelson wants
account of the concert is the one where Zenas “Daddy” Sears, the it known, despite
lead DJ at Atlanta’s R&B and gospel radio station WAOK (who also being divorced twice
sponsored the concert), placed a lone microphone somewhere in and married thrice
the audience at Atlanta’s Herndon Stadium, capturing a peak Ray before writing this
Charles performance playing to a crowd braving a rainy night on album — including
May 28, 1959, before his crossover break. one that was spurred
by his second wife finding a maternity ward bill from his eventual
Creating harmony out of unlikely combinations was integral
third wife — that Phases and Stages is and was not autobiograph-
to Charles’ genius, and that’s evident with how effortlessly he
ical. “The overall theme was not a reflection of my own life,” he
navigates multiple genres on In Person, oftentimes on the same
said in his 2015 biography It’s a Long Story: My Life. “I was simply
song. It’s an album that’s a testament to him as a versatile musical
making up a story. Sure, I’d gone through breakups and heart-
pioneer: someone who was unafraid to explore different ideas
aches of my own. What human soul hasn’t?” But when you make
and sounds throughout his career, becoming a seminal figure in
an album like Phases and Stages, the most devastating, humanistic
American music in the process. -Elijah Watson
divorce record of all time — and be beaten by an ex-wife after she
sews you into your sheets — people begin to believe the album is
Miles Davis about you and your ex-wives.
Star People
The prevailing feeling you get listening to this divorce album
Al Foster on drums, Mino
is that there is no clear “winner:” just two people who no longer
Cinelu on percussion
work together in a way that works for either. They both know they
The cosmic goofi- loved each other once, and regret that the love is gone. Even if
ness of the space-jazz the husband seems like a jerk on Side A, he’s definitely going to
aesthetic was never miss his kids, and realizes he did wrong by his wife. And even the
sophisticated, cool, or wife isn’t sure she acted right in the end. She shouldn’t be forced
effortlessly hip enough to accept her husband’s infidelity, but maybe he was the love of
for Miles Davis — but her life. It’s nuanced, it’s deep, and it’s scarring, just like divorce
neither was anything on the earth’s plane. He would insinuate outside of the confines of an album. Willie knows that in every
astral realms rather than pretend to be an astronaut or an alien situation, you can be the hero or the villain, and in some cases,
like some of his more outlandish contemporaries. Miles’ version you probably are a little of both. And that’s his greatest skill as a
of space music is more about the space to expand one’s tonal songwriter, he sees the flawed human being in all of us. In some
palette that privacy affords, than any desperate swoon for inter- phases of life, you think you know what you’re doing. In other
galactic travel. He sought room to move and change course, both stages, you’re lost. -Andrew Winistorfer
in his music and his life. Miles pursued the luxury of territory and
the freedom to be at once aloof and heartbreakingly candid. He

98 Modern Drummer December 2024

EYE CANDY
Frank Zummo’s Sum 41 Touring Kit

Photos by Jason Mehler

Drums: SJC Custom Design: Sum 41 Heaven/Hell Maple Shells; AS5D Universal Microphone Mount for snare bottom mic.
6.5x14 Mahogany Black on Black Snare w/Maple Re-rings, 6.5x14 Electronics: [main kit] Roland SPD-SX Pro, Roland V-drum TD-50
SJC Goliath Bell Brass (backup,) 8x12 Rack Tom, 13x16, 14x18 Module, Roland RT30-K Triggers [kick drums], Roland RT30-H
Floor Toms, 4x20 UFO/Gong: Drum, 18x22, 18x22 Bass Drums. triggers [snare, toms], Roland BT-1 Trigger Bar, BOSS FS-5U
Heads: Remo: Toms - Powerstroke P4 clear batter/ Ambassador footswitch.
clear resonant, UFO/Gong - Powerstroke P4 clear Kick batter/ no Microphones: SE electronics BL8, V-Kick [kick drums], V-Beat
resonant, Snare - Emperor X Coated w/ reverse black dot batter/ [rack and floor toms], V-Kick [UFO/Gong], sE8 [hat and ride
ambassador snare side resonant, Kicks - Powerstroke P4 clear cymbals], sE 4400 [Overheads], Lauten Audio LS-408 [snare top/
batter and resonant.
bottom], Sennheiser MD 445 [vocal].
Cymbals: Zildjian: 15” K Fat Hi-hats, 20” K Cluster Crash, 19” K In-ear Monitors: Ultimate Ears UE15.
Sweet Crash [2x], 18” FX China ‘Trash’, 23” K Sweet Ride w/ 7.5”
Volcano Bell stacked, 24” Wind Gong. Drumsticks: AHEAD: Frank Zummo signature sticks.
Hardware: DW 9000 main rack package [2x], 9000 Rack Snare Accessories: Radial Hot-Shot DM1, Snareweight M1 leather
Basket - small, DW 9000 kick drum pedals, DW 9000 hihat pedal, muffler, AHEAD gloves, Kelly-SHU FLATZ microphone shock
9000 series stainless Steel Curved Rack Bar 36” [2x]. Porter & mounts [kick drums], Kelly-SHU Pro shock mounts [kick drums
Davies Drum Throne powered by Crown XLS 1502 Amplifier. and UFO/Gong], DW Pro Cushion Bass Drum Pillow, Remo HK-
Danmar Drumstick Holder. LP Claw for snare top mic, Shure MUFF-22 Bass Drum Muffling, Rock Locks 53 [standard and soft].

Modern Drummer December 2024 99

 NEIL PEART SPIRIT OF DRUMMING SCHOLARSHIP RECIPIENT
ANNOUNCEMENT
SECOND RECIPIENT OF THE
NEIL PEART SPIRIT OF
DRUMMING SCHOLARSHIP
AIMEE PECKHAM.
Joining in the tradition of last year’s winner Maxx
Rinkus, we now celebrate the new winner of the
award Aimee Peckham. In the last year, Aimee
has had the opportunity to study with Rob
Silverman and improve her drumming skills while
The Neil Peart Spirit of Drumming Scholarship, pushing her talents to new heights. Join us in
presented by Modern Drummer, is a tribute to celebrating Neil’s legacy of musical discovery and
the extraordinary legacy of Neil Peart, the excellence, and Aimee’s continuing commitment
legendary drummer of the iconic band Rush. to greatness. Let the Spirit of Drumming inspire
Renowned for his technical precision, creative you to reach new rhythmic heights!
expression, profound lyrics, and long-lasting
impact on the drumming community, Neil’s
influence transcends music. His work continues
to inspire countless drummers, and artists around
the world to explore new heights in their craft.

Are you a young drummer looking to take your

With the generous support of Neil’s wife, Carrie
talent to the next level? The Neil Peart Spirit of
Nuttall-Peart, and their daughter, Olivia, this
Drumming Scholarship could be your chance to
scholarship embodies Neil’s passion for music
do just that. This annual scholarship is dedicated
and education. It offers an unparalleled
to nurturing the next generation of drummers,
opportunity for an aspiring young drummer to
encouraging them to push their boundaries and
elevate their skills and pursue their dreams by
grow as both musicians and individuals. Modern
studying with .PEFSO
%SVNNFST
%JSFDUPS
PG
Drummer will start accepting applications for the
8PSMEXJEF
&EVDBUJPO
3PC
4JMWFSNBO. This
next Neil Peart Spirit of Drumming award on
award is an invitation to follow in Neil’s footsteps,
January 1, 2025. All submissions can be sent to
embracing the spirit of relentless practice,
XXXNPEFSOESVNNFSDPNOFJMQFBSUTQJSJU
innovation, and artistic integrity that he
PGESVNNJOHTDIPMBSTIJQ
exemplified throughout his career.
 The
Legends Collection

Not just another drum book or magazine, it’s Modern Drummer Legends!
Extensive and New In-Depth Interviews • Artist Approved Content
New Song Transcriptions with Artist Insights
Never-Before-Seen Photos • Digital Download Components

Legends Coming Soon:

Billy Cobham • Carmine Appice • Gavin Harrison • Giovanni Hidalgo • Carl Palmer
Cindy Blackman Santana • Dave Weckl • Charlie Watts • Eric Singer • Alex González

Buy from your favorite music retailer, check out more at moderndrummer.com/legends
Modern Drummer December 2024 101
 2024: In Memoriam
%\0DUN*ULIÀWK

T
he drumming community is a close one, our and their drumming will last forever. They have created
many shared experiences in drumming, our a legacy in drumming, and future generations of
sacrifices for our artform, and our love of drummer’s will be better for what they have given and
drumming establishes a bond that unites us all. When taught us. They have entrusted us with the future of
we lose a beloved member of our community, we drumming, and the future of music will be better for
all hurt and feel the loss of a drum brother whether what they have contributed.
we knew him or her or not. Sometimes we are fans, Modern Drummer and the greater drumming
sometimes we are peers, sometimes we are students, community remembers and thanks all drummers
sometimes we are admirers of a name on a record or a (mentioned or unmentioned below) that were lost in
marquee, and sometimes we are just a pair of hands to 2024. Our deepest condolences go out to all the families,
help each other carry our drums. No matter the degree friends, and fellow musicians, that are grieving the loss
of our successes, we are all students of the continuum of of a beloved drummer, loved one, and fellow member
drumming, striving to be our best and make the world a of the drumming community. These are the drummers
better place through our music and drumming. that we lost in 2024, their notes, rolls, and grooves will
The following drummers will live in our memories, resonate forever.

James Kottak (Scorpions, Kingdom Come, Warrant;) Jimmy Van Eaton (Jerry Lee Lewis, Johnny
Cash;) Brit Turner (Blackberry Smoke;) Sandra Crouch (Percussionist, sister of Andre Crouch;)
Gerry Conway (Cat Stevens, Fairport Convention, Jethro Jull;) Albert “Tootie” Heath (Heath
Brothers, Jazz Legend;) Keith LeBlanc (Tackhead, Producer;) John Barbata (The Turtles, Crosby,
Stills, Nash & Young, Jefferson Airplane, Jefferson Starship;) Dennis Thompson (MC5;) Jon Wysocki
(Staind;) Ed Mann (Percussionist, Vibraphonist, Frank Zappa;) Mick Underwood (The Outlaws;)
Johnny Rodriguez (bongo player Tito Puente, Tito Rodriguez;) Makaya Ntshoko (Dollar Brand,
Hugh Masakela;) Martin France (Teacher, Spin Marvel, Human Chain, NDR Big Band;) Roger Palm
(ABBA;) Artie Baldacci (Heartsfield;) Robin Guy (Rachel Stamp, Sham 69;) Kenny Hyslop (Simple
Minds;) Russ Caudill (David Lee Murphy;) Carl Bevan (60 Ft. Dolls;) Tom Foote (George Strait;)
Keith Bornzin (Hitting Earth;) Ray Mosca (Billy Taylor;) Joe Mullen (Teacher, Denis DiBlasio;)
Doug Sides (Phil Woods, Johnny Griffin;) Jeff Lee (Owner Resurrection Drums;) Richard Andrew
(Underground Lovers;) Dick Allix (Vanity Fare;) Joe Dorn (Fork’s Drum Closet;) Roy Haynes (Jazz
Legend;) Dennis Bryon (Bee Gees;) Colin Petersen (Bee Gees.)

102 Modern Drummer December 2024