Quadragrip 4 Trapset
(1977 to the Present)
Dedicated to Tommy Thomas and Elvin Jones
My life with Q4T is a search for creativity, improvisation and invention, while maintaining the history of tradition.
Tommy Thomas told me about playing with multiple sticks, mallets and brushes on gigs in Chicago Theatres, during the 1930s and 1940s.
Looking through vintage Ludwig catalogs from the late 1920s, 1930s and 1940s, I saw drummers/percussionist with chimes, xylophone, tympani and more. They had to move fast and be creative to play “Trapset” music.
Tommy Thomas introduced me to Louie Bellson at his Village Lounge gig in 1980. I gave Louie my Quadragrip book. He told me he was composing a 3 stick, brush orchestra piece.
When I was soliciting my book to drummers for their endorsem*nt, I mailed one to Johnny Carson. He replied, I like it, but I prefer duo-grip.
I hope you enjoy my discoveries to play this musical instrument called, The Drumset.
Best regards,
MW
Musical Repetition dictates specific ways to play the kit. The sounds of the drumset are focused on various parts and combinations of the instrument.
Ride cymbal, high hat, snare drum or toms usually dominate the groove or rhythm.
These interior monologues document my personal thoughts about learning to play and expand the sound of the drumset, an update to my 1980 Quadragrip publication.
It took 20 years before I was confident enough to play Q4T publicly on the bandstand. I didn’t start using Q4T (full time) till 1997.
Audiences noticed the visual concept. I didn’t want Q4T to be perceived as a entertainment gimmick. I want my expanded sound to support and augment the music.
I’m comfortable it’s taken 40 years of practice and performance, to author this updated 2017 documentation.
I’ve experienced many joyful performances and gigs that brought pleasure to the viewer and listener. They mention hearing my sound as a modified, different approach.
I’ve seen YouTube videos of college percussionist playing contemporary repertoire using various combinations of 3 and 4 mallets or sticks.
This generation of player has been exposed to multiple mallets, sticks or brushes to play varieties of instruments and sounds in performance.
I’m thankful for the gift and concept of my Q4T technique.
Q4t doesn’t have to be a complicated, notational challenge.
To illustrate my technique, I show the process without notated music. My simple examples demonstrate combinations of 2 and 4 sticks, brushes or mallets on various drums and cymbals.
I also illustrate the concept of setup, how I utilize specific placement of drums and cymbals.
I started playing Quadragrip, with my 1974 Fibes drumset; it’s my number one kit. There have been others. My 1983 Gretsch Carpathian Elm kit [1986-1999] was beautiful. My North drumset [1999-2000] Derek Bailey-Jon Rose) was completely different. It was very unique to have 4 smaller sized toms, rack mounted at eye level. The North kit was augmented with various percussion, bells, blocks, tambourine, gongs, cymbals and more.
Since my 1980 Quadragrip book photos were taken, the percussion instruments were sold. I have great memories, and a few recordings of them from the past.
My 1974 Fibes drumset: remains semi-intact, minus the front hoop, bottom rims and heads. I still have the cymbal stands.
Waxing Poetic
“Thinking and playing outside the box can be a blessing and a curse”
“When Roland Kirk came on the scene playing multiple instruments, it was hip and innovative. Most saxophonists continue to play one instrument at a time”
“Many times, an audience of one is all you need”
Muscles and Tendons In Your Hand (So Says Wikipedia)
(1) Depending on how it is measured, it is commonly agreed upon that the index or middle finger is the strongest on the human hand.
(2) The ring finger is bound to the fingers around it with tendons that limit its movement. It is the most dependent finger. In terms of strength, it has been found to be comparable to the index finger.
(3) The tendons in your fingers are independent from one another apart from the ones in your middle and ring finger. These tendons in the ring and middle fingers are connected.
(4) Fingers do not contain muscles.
(5) The muscles that move the fingers and thumb are located in the forearm. Long tendons extend from these muscles through the wrist and attach to the small bones of the fingers and thumb.
(6) One half of your middle finger is supported by a radial nerve branching off from the index finger.
(7) The thumb has independent muscles for all movements.
(8) The little finger has separate muscles to perform some movements. It relies on muscles it shares with the other three fingers, limiting control.
(9) The ring and middle fingers have no flexors or extensors independently. They move with the muscles common to all fingers.
“Q4T Grip”
Outside sticks: the outside stick of each hand slips between the ring and middle finger.
Inside sticks: the inside stick fits between the thumb and index finger. The end of the stick will rest at the base of the thumb.
Blisters/Callouses
(Says Me)
There’s a high possibility you will get blisters, if you try q4t. This usually happens between your middle and ring finger. When I was playing very hard and loud on a daily/nightly gig, I had large callouses on each hand. I still maintain a working callous, but only get temporary blisters, if I’m playing something loud. Using tape before you play will protect your hands and fingers.
(Example One)
Two Sticks and Two Brushes
This has been the most “Live Gig: useful of the combinations I’ve discovered using 4 of anything. When I’m a “Jazz Player” I can sound very traditional with sticks and brushes.
I expand my dynamics because of the brushes. Playing fours or eighths with yourself , in the jazz tradition can be entertaining.
The 2 stick-2 brush combination allows me the opportunity to dampen, mute and muffle cymbal and drum overtones with the brush.
(Example Two)
Mallet-Maraca-Brush-Stick
I utilize this combination regularly for fun, improvised solo playing. Having a variety of possibilities keeps ideas and sound inventions fresh.
(Example Three)
Mallet-Mallet-Brush-Stick
I like the sound of mallets, even on snare drum for playing backbeats. I feel mallets give me a fatter, warmer sound. I use a brush in the traditional style, also for dampening.
The outside stick plays the high hat.
(Example Four)
Four Sticks
This combination creates a sheet of sound. It takes time to get control, and can be “overpowering” if it isn’t used tastefully.
Using this combination within a music ensemble works, but has to be controlled. It can be very complex, when I add more sounds and parts from the drum set. Q4T can sound like a percussion ensemble, all by itself.
(Example Five)
Outside Stick on High Hat
I speak about this in many examples.
(Example Six)
Two Sticks on Ride Cymbal
There are unlimited possibilities here. I’ve talked about using one tip on the bell, the other elsewhere. I’ve also discovered a method of rolling my hand with 2 sticks, which creates a combination of notes. With practice, I can play single taps and buzzes. Wood and nylon tips produce different sounds for playing accented and unaccented notes.
(Example Seven)
Brushes Outside for Duo-Grip
This has been a 2016-2017 discovery. Since 1977, I’ve always played brush inside and stick outside. With more shed-time working on my brush playing, I discovered this reverse grip of holding brushes between my middle and ring finger. This technique can be used with duo-grip. I have a closer touch to the drumhead. My sweeps are side to side, instead of up and down. Faster tempos are played with the brushes flat on the drumhead, moving with a level, horizontal motion. The hand motion is like dealing cards or rolling dice.
Sticks are inside, as I would normally play with match grip. This has been one of the most interesting discoveries I’ve had in recent years, with duo-grip.
(Example Eight)
Outside Stick on Ride Cymbal-Outside Stick on High Hat-Two Inside Sticks on Snare Drum:
I use this combination for many different situations.
(Example Nine)
Inside/Outside Sticks High Hat-Outside/Inside Sticks Snare Drum:
This combination is used to double-up the snare and high hat parts simultaneously.
(Example Ten)
Four Brushes:
Playing with 4 brushes, instead of 2 doubles the sound. In my experiments, I’ve discovered that my sweeps are fatter. I think there are many discoveries to expand on this. This combination can also be 3 brushes, stick or mallet.
(Example Eleven)
Second Cymbal off Mounted Tom:
Imagine a stereo sound of your cymbals, recorded with 2 microphones. This is the sound I’ve documented with recording this combination. My 2 outside sticks play the right/left – left/right cymbals. A similar stereo sound can be produced with outside sticks on cymbal and high hat.
(Example Twelve)
Cymbal off Floor Tom:
Utilizing china, swish, crash or similar cymbal to the side of the floor tom, adds to my sound. A regular ride cymbal can also be used. Each cymbal dictates a different touch. The cymbal, when played simultaneously with the floor tom can be rhythmically enhancing.
(Example Thirteen)
Outside on Floor Tom-Inside on Snare-Inside on Mounted Tom-Outside on High Hat:
This combination is my classic example of playing 4 sounds. I can play the mounted tom and high hat with the 2 sticks from one hand. I combine these sounds to play syncopated open and closed rhythms on the high hat.
(Example Fourteen)
3 sticks only
This was my original use of the mandolin roll for the high hat. Two sticks, one hand, each playing from the top and bottom of the high hat cymbals. My other hand plays snare drum with one stick. Playing a one-handed cascara with a clave is possible. Holding two sticks with my dominant cymbal hand, it’s possible to play a hand drum, auxiliary percussion, kazoo, megaphone or even keyboard with the opposite hand. BaDaBoom
(Example Fifteen)
Four Mallets:
I approach this with a classical sound in mind. Loose, lazy open rhythms around the kit. Rolls on multiple drums and cymbals are full. After playing with sticks, it’s refreshing to play with mallets. I like the softer touch and feel. You can dampen and pitch bend into the head. Mallets also produce a warmer sound on drums and cymbals.
(Example Sixteen)
One Handed Snare High Hat Grooves / Open or Traditional
This method gives me the option to play one-handed linear or nonlinear beats. If you want to give Q4T a try, this can be a good place to start. Experimenting with 2 sticks in one hand. Either hand, 2 sticks. Your outside stick plays the high hat, the inside stick plays the snare drum. Start with a simple paradiddle. BaDaBoom
(Example Seventeen)
Three Sticks on Floor Tom:
I find this combination interesting when playing Krupa or World Beat grooves. The outside stick plays the snare drum and the 3 other sticks are on the floor tom.
(Example Eighteen)
Three or Two Sticks on High Hat:
I like this combination method for playing consistent “without a break” 16th and 32nd notes on the high hat. Combined with a backbeat on snare drum. BaDaBoom
Side Bass Drum:
This is another 2017 discovery. I found my C G Conn Bass Drum on Craigslist. My historical research dates it to the 1930s. I love the way it sounds. I alternate between playing it with a foot pedal and “old school” “side double drum” technique.
Learning to play a 12” x 26” Bass Drum made me understand what early drummers like my teacher Tommy Thomas experienced. I bought my drum with calfskin heads. What a sound. I discovered it required a different leg and foot technique to play a real “Bass Drum” with calfskin heads. I appreciate how those drummers danced and softly played 4 on the floor with accents.
My C G Conn Bass Drum as a “Double Drum” has become an addition to my Fibes drumset. It sits upright in a chair within reach, by my floor tom. I stand up to play it on both heads. I also play it simultaneously with my Fibes kit. For different sounds, I use brushes, maraca, mallets and sticks.
There are several drummers in history that played a suspended or mounted bass drum as part of their kit. I saw the very talented drummer (Ed Cassidy) with Spirit in 1970. I’ve also seen photos of Simon Phillips with extra Bass Drums. Classical and contemporary music percussionists have been utilizing this sound for decades.
Second Line:
I hope I don’t sound to hom*ogenized in any of my interpretations of this style. Playing a rhythm or groove from listening to a recording or reading it from a book doesn’t make it authentic. Living in New Orleans, hearing the gatekeepers of this style, is the only way to have authentic validation. The great master drummers from New Orleans play these grooves. Johnny Vadocivich, Earl Palmer, “Baby” Dodds, Ray Bauduc, Ed Blackwell, Vernel Fournier, Herin Riley and Zigaboo Modeliste are my favorites of this tradition. They play with a history of living it. Their grooves are refined from decades of grooving on a bandstand, riverboat or the street.
Accumulating the dirt and grit to any ethnic style or rhythm comes from living it. It’s not just the notes.
With my Q4T concept, I only imagine these indigenous rhythms and apply my interpretation of them.
With 2 sticks and 2 brushes, I utilize dampening of the snare drum. When I add the maraca, this gives me more of a open legato wash to the rhythms. I also use the drum rims and shell. It’s while playing this style that I reversed my 40 years of playing sticks on the outside, brushes on the inside.
I currently alternate and reverse this grip combination.
Not Moving Around The Kit:
Playing fast around the drumset is a crowd-pleaser. Moving from drum to drum takes lots of practice. With my 4-stick technique, I’m playing as many notes, without moving around the kit. As I’ve become slow, lazy and old, this has become a huge benefit.
Jazz Time Outside Stick on High Hat:
I’ve learned to play the traditional splang-a-lang jazz time on the high hat with my outside stick only. Playing the high hat, either on top or side, depends on my current setup. My high hat setup is usually very low. I’ve become comfortable to play that groove, even at fast tempos. Playing on top using the bell, I can turn the jazz rhythm into a dotted bossa or samba rhythm.
Dynamics:
When I play with the combination of 2 sticks and 2 brushes, my dynamics increase.
High Hat:
I have discovered multiple concepts with different heights of my high hat. For much of my playing, I use a high hat which I removed the top telescopic tube. I also sawed off the rod. My playing height of the top cymbal is horizontal, with the top of my snare drum. Level at the same height, or 1” higher. I play the high hat cymbal with the outside stick.
Set Up and Spacing:
The close proximity of my drums and cymbals dictate many of the combinations that allow me to play multiple parts of the drumset.
Sheet of Sound:
I first heard the term “Sheet of Sound” pertaining to the music of John Coltrane with Elvin Jones. I imply this to the nonlinear concept of playing 4 of something in 2 hands, with 2 feet playing bass drum and high hat. This can produce sound from 3 drums and high hat / 4 drums / floor tom – ride cymbal – snare drum and high hat. Those are a couple combinations. In recent times, I’ve seen drummers using multiple pedals, which can sound conceptually close to my Q4T concept. During my 90s North drumset period, I was using 4 multiple pedals with my kit.
Poly-Metrical Time and Rhythms:
Poly Metrical Time: pertains to playing “time” or “pulse” with a counter non-pulse, free time rhythmic opposite.
I began this experiment within the avant-garde concept of free jazz improvisation. My base of free playing, is influenced by the style of Rashid Ali, playing on John Coltrane’s Interstellar Space. I attempt to reproduce that sound with a pulse of traditional swing. My method is to play a 4/4 pulse with combinations of the bass drum, ride cymbal and high hat. Ride and High Hat are played with the 2 outside sticks. When it’s solid, I’m able to approach the free improvised part with the 2 inside sticks on the snare drum. BaDaBoom
Open Handed Technique:
I don’t think or play with the traditional open-handed technique. I utilize various features of it. Open-Handed is referring to the Billy Cobham, Gary Husband, Will Kennedy, and Simon Phillips method. You don’t crossover to play the high hat. Your ride cymbal or high hat is played dominantly with the left hand. This is for “right footed players” of the drumset. Confused? I expand on this in my Lefty vs. Righty excerpt.
Syncopated Off Beats on High Hat:
The “Smoke on the Water 16th note disco beat” usually has dropped High Hat notes, when playing snare on 2 and 4. The concept to play multiple sticks on high hat and snare drum allow me to not drop any beats. I can play continuous 16th notes. Those off beat notes (1-e-an-a) (_ e - _ a) will be mathematically included.
Four On The Floor:
I love to play this groove. During my bebop police days, I thought it was old and corny. I loved Gene Krupa, even when I was into Elvin, Tony, Max and others. Playing a four on the floor bass drum part with beboppers wasn’t hip. I was young and naïve in this thinking, without historical research of the swing tradition.
While authoring The Tommy Thomas Percussion Library, I journeyed into the deeper past of the swing tradition. Baby Dodds, Big Sid Catlett, Zutty Singleton, Ray Bauduc, Ray McKinley, Davey Tough, Papa Joe Jones, Cozy Cole and of coarse Gene Krupa.
With Q4t, I’ve become more relaxed and confident to play what may be interpreted as, four on the floor.
With Q4T, I rely less on the dominant bass drum quarter note. I transfer the quarter note pulse to the floor tom and outside high hat stick. This allows more independence to play bebop accents with my inside sticks or brushes on the snare drum.
“Swing on Gene – Go Man Go”
Musser/Leigh Howard Stevens vs. Burton Grip:
When I first started playing 4-mallet vibraphone, it was with the traditional grip, what I call the Gary Burton grip. I began using 4 sticks on the drumset in 1977, after I discovered the Musser grip. I also saw and heard Leigh Howard Stevens perform in recital. I started working from his Method Of Movement technique book. I quit my serious study to play mallet instruments and transferred his exercises to the drumset.
Wood Tip vs. Nylon Tip:
Nylon and wood tips sound different on cymbals. I’ve experienced interesting sounds with one of each, in one hand. I’ll use the nylon tips for the back beat, two and four, wood tip for one and three. Unlimited rhythmic sound and articulation can be discovered.
Cymbal Dampening:
The one-handed stick/brush combination allows me the choice to dampen the overtones of my cymbals. If, I’m playing soft music/rhythms that can be heard, it can be unique. I like the option to change the sound of my cymbal as I play. Pushing the brush into the cymbal and playing articulate, staccato quarter notes make the time feel solid.
Linear vs. Non-Linear:
Playing complicated linear rhythms and patterns is easier with Q4T. Playing non-linear rhythms and patterns, my Q4T sound has 4 combinations, instead of 2. I’m doubling the sound of 4 sticks on 4 parts of the drum set
The excellent notational books by Gary Chaffee and David Garibaldi can be applied to experiments with multiple sound combinations. It’s not a simple “double down” with volume. Rhythms and accents can be fine-tuned and utilized creatively.
I try, to play with a conscious awareness of linear and non-linear possibilities. When I use 4 sticks or 2 sticks and 2 brushes, these combinations have certain sounds. I’ve been playing with 1 maraca, 1 brush, 1 nylon tip stick and a small head yarn mallet. Each utensil has a different sound. Discovering 4 different drumset tonalities with 4 different utensils is exciting.
Low vs. Regular High Hat:
Many years ago, I began to play the high hat very low. To do that, I modified a high hat and removed the upper tube. After removing the tube, I placed the large washer and felt over what remained. I took the rod to a hardware store and had it cut to my specifications. This worked, till I wore the pedal out. I still play the high hat cymbals as low as possible, horizontal with the snare drum. I use this for the majority of my playing. There are occasions, where I’m playing blues or pop music that require a normal high hat. I created a 4-stick alternative to play the raised high hat cymbals for that music.
Multiple Cymbals:
With this setup, I play with my 2 outside sticks on 2 different cymbals. I like the concept of a normal ride cymbal, augmented with an alternative, complimenting cymbal. I can play up on the bell or double the rhythms from the 2 cymbals. These can be intricate rhythms that are very difficult with one hand or stick. (possibly impossible)
Samba/Bossa Nova:
I heard the playing of the great percussionist, Airto, in the early 70s. His articulate drumming on the record, Light As A Feather. Those rhythms were fresh and beautiful. That samba dotted bass drum part captured my interest. It was a physical execution I was unfamiliar with. For many years I bought every Airto record I could, I loved them all. Those rhythms were also making their appearance in recorded music, fake books and written band charts. I also started listening to the music of Antonio Carlos Jobim. I’d heard Brazil 66, but didn’t appreciate how original they were.
My early Q4t experiments included many hours of attempting to get a handle on playing like Airto. Starting with the foot pedal bass drum. Playing what I interpret as Brazilian. Whatever I play in that style is a hybrid imitation. My interpretation is an Americanized, rock and roll version of those unique rhythms.
Cymbal and Cymbal Bell:
There are varieties of sounds on a cymbal. Playing two sticks or other combinations create more than one simple sound. One stick on a cymbal is certainly enough; Roy Haynes, Elvin, Tony, and Buddy prove that. All of my examples are options to expand the sound of the instrument.
Flat Rides:
I’ve owned several varieties of flat rides. I like the dry character of the sound. I don’t currently own one. I’m playing a 1960s, Paiste 22” Formula 602. I really like it, but miss certain aspects of a flat ride. I miss the ability to use 2 sticks on a cymbal, without extreme wash or overtone buildup. Flat rides are excellent for less wash. I’m able to play hard and get the sound of the notes to project, using 2 sticks on the cymbal. The down side: they lack an organic sound. I prefer heavy thick flat rides, but they feel like a big hunk of metal, which they are.
Hand Made Mallets:
I’ve recently taken broken mallets and wrapped the head with soft felt. The shorter mallet, with less weight can be played at faster tempos. The head of the shorter mallet will fit more in the center of the drums.
Jazz Ballads:
Brushes and stick combinations allow me to play a traditional “stir the gravy” with brushes and play cymbal taps, accents or crescendos with sticks.
Tambourine:
Hand held tambourines and mounted tambourines played with a stick add to a rhythm and groove. Holding larger tambourines or maracas on the outside can be difficult, so I hold them on the inside. Heavier instruments on the inside are slower, so I can play slower, fatter rhythms and downbeats.
Maraca:
I like the sound and attack I get with a maraca. To some, the sound may be unpleasant; I like what it adds when I use it. I’ve seen African Drummers that have similar sounding beads hanging from their drums. They also use metal and shaker sounding objects. I’m trying to imitate that sound and effect. I don’t know how to play maraca in a traditional manner, as masters of Latin music do. All of my playing is a hybrid. The maraca on a drum has a wide footprint. It gives me the feeling of a deeper groove. I also use the maraca to create a legato long tone. My method is a loose, rhythmic concept. Most of my maraca playing includes whole, half and quarter notes. Short staccato articulation is difficult. I’m still seeking a darker, warmer sounding maraca. The plastic maracas I use can sound brittle. I occasionally use the maraca to play a 2 and 4 backbeat with 4 on the floor.
One Handed Rudiments:
Practicing traditional rudiments with 2 sticks in one-hand is a very useful exercise..
John Bonham 4 Sticks:
I didn’t become aware of the Led Zeppelin tune, Four Sticks, until 2005. I was looking at a Zeppelin book with song tracks and recording history, when I discovered the Four Sticks title. I heard their first record during the winter of 1968. In 1972, I saw them in Orlando. In my research to look into John Bonham’s 4 stick experiments, he first performed his four-stick technique in the studio, recorded the track and never recreated it live.
In 2010, I purchased a DVD set of Led Zeppelin. While watching it, I thought I saw John Bonham playing with four sticks. I paused and replayed the video back and forth. There it was, yes, he had Four Sticks in two hands. It’s like the method Steve Gadd uses for Paul Simon’s, Late In The Evening. There are only a few frames, but it was a cool discovery.
I love that track in Five Eight and Six Eight time. It’s a difficult song form to play. I continue to work on it with my Q4T.
Two High Hats:
I added a second high hat to my North drumset in 1998. It was rack mounted, where many play their hoop-mounted cowbell. I use my outside sticks on multiple high hats.
My inside sticks play the snare drum. For Pop and Blues it works really well. I may revisit that design one day.
Elvin Jones:
In 1984, I was accepted into a 3-week master study with Elvin Jones. This happened at The Atlantic Center for the Arts, in New Smyrna Beach, Florida.
For those 3-weeks, I had group and private lessons with Elvin. I never showed him my Q4T concept. I was still getting confident with it. Elvin was very open to improvisation and new ideas.
Reversing Inside and Outside:
When I started experimenting with Q4T, I held my brushes on the inside and sticks on the outside. In 2017, I’ve been alternating with sticks on the inside, brushes on the outside.
Hoop mounted cowbell:
I like the easy access to play cowbell and snare drum with 2 sticks in one hand. I occasionally use a hoop-mounted cowbell. I play a lot of paradiddles.
Phone Home 1983 Mandolin Roll:
Illegal Radio is my first record as a leader. I recorded a tune called Phone Home. Glenn Lee and myself composed it in the early 80s. I still love this recording and the tune. I used (3) three sticks. Two sticks playing the continuous up and down 16th/32nd note high hat pattern with a mandolin roll. I used one stick to play the two and four backbeat on the snare drum. This was very early in my Q4T playing. I was happy to pull it off.
Lefty vs. Righty:
When I started playing the drumset in 1966, I began as a lefty. I still play the bass drum with my left foot, high hat with my right. Over the decades, I’ve been able to move some of my concepts into a more ambidextrous method. Because most players are right handed, I illustrate many of my photos and Q4T designs for the right-handed drumset. Left-handed players are familiar with this and mentally reverse the image.
One area that has improved in my lefty righty thinking and playing, has been the transfer of my backbeat hand. When I’m playing a rolling 16th note rhythm around various parts of the kit, I play the backbeat with my left inside stick. Think mirror image if you’re right handed.
Modern Drummer 1980:
My original Q4T concept was published in the April 1981 edition of Modern Drummer.
Personal Favorites:
Gene Krupa, Buddy Rich, Mitch Mitchell, Bobby Caldwell, Ginger Baker, Tony Williams, John “Drumbo” French, Paul Motian, John Bonham, “Baby” Dodds, Jamie Muir, John Densmore, Ringo, Charlie Watts, Keith Moon, John “Jabo” Starks, Frankie Dunlop, Bobby Colomby, Tony Oxley, Eric Gravett, Billy Cobham, Majid Shabazz, Ed Thigpen, Jon Christensen, Ron Hefner, Joe Morello, Han Bennink, Airto, Papa Joe Jones
Teachers:
Through my playing lifetime, I’ve learned from everyone. These individuals are special. They shared, inspired and taught me at a different level.
Elvin Jones, Clarence Palmer, Charlie Robinson, Dan Jordan, Tommy Thomas, John Rakestraw, Glenn Lee, Derek Bailey, Michael Bocchicchio
Thanks to these musicians and artist for 50 years of memorable bandstand moments:
Barney Kessel, Charlie Byrd, Ira Sullivan, Nathen Page, George Benson, Derek Bailey, David Amram, Roscoe Mitchell, Matt Shipp, Gary Smith, Vic Waters, Don Gregory, Tony Bevan, Jon Rose, Sam Rivers, Peter Kowald, Herb Ellis, Tommy Cashwell, Jimmy Head, Brian Auger, Elliott Randall, Murf the Surf, Mister Magoo, Jack Snipes, Julie Ali, Nobel (Thin-Man) Watts, John Butcher, Sonny Kenton, Dietrich Schaeffer, Don Garrett, Wayne Sharp, The Blenders, Riddler Band, German Pavilion Epcot, Brevard Symphony Orchestra, Florida Symphony Orchestra, WDW, Mothers Finest, Merging Traffic, Frank Gratkowski, Ron Hefner, Doug Mathews, Ron Pedley, George Morrow, The What Thing, Brian Mackie, David Pate, Connie Faye, Kris Gruda, Clarence Palmer, Charlie Robinson, Dan Jordan, Michael Leasure, Mark Hodgson, Dan Walters, John Rakestraw, Glenn Lee, Derek Bailey, Michael Bocchicchio
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