Back Through The Stack
Modern Drummer is the world’s most widely read drum magazine, is dedicated entirely to the art of drumming and caters to the needs of amateur, semi-pro, and professional drummers.
Tony Thompson
December 1985 “On The Power Station album, I’m beginning to approach what I’m shooting for. My drums sound bigger than life, and I’m getting to play so much—really blasting off, but still working that funk groove. There are a lot…
Terry Bozzio
Modern Drummer, July 1994 “Even though I’ve got that humongous drum kit sitting there, I’ve learned I don’t have to use it all at once. Igor Stravinsky thought nothing of having five solo cellos play a section in the middle…
Harvey Mason
Modern Drummer, July 1981 “Artists generally give me creative freedom. Sometimes, I feel that people are intimidated, and they don’t want to tell me what to play—which is too bad. I want everything. I want it both ways. I want…
John Densmore
Modern Drummer, December 1982 “On the Doors albums, I always went for the drums to have real personality. I always had the bottom heads off all of my drums, and I hated new skins and new drums. I liked to…
Sly Dunbar
Modern Drummer, April 1985 Certain people expect me to shine all the time, but artists can’t be at their best every day. No one is perfect. If a song is a good song, it’s much easier for me to play…
Sheila E - Modern Drummer, July 1991
A lot of percussionists—and drummers, too—have that problem of overplaying. The way you overcome it is by developing discipline. I learned all about discipline when I became a session player. I’d go into the studio and the producer would say,…
I’ve learned probably the most from bass players -Tony Williams
I’ve learned probably the most from bass players. Drummers have to work closely with bassists, and I’ve been trying to understand bass players. It’s not just playing your instrument, getting off on how good you are alone. It’s also seeing…
Harvey Mason
I have always been a sympathetic player. I’ve always been in situations where I felt I was backing someone else up, and the object is to make them feel comfortable so they can do what they do the best they…
Max Roach on Promotion of Dummers
When drummers are playing, horn players should color the way we color behind them. To me, it’s a matter of imagination, and it also has something to do with humility. Drummers have a great deal of humility in order to…
Terry Bozzio
I knew I had to make my own statement or go on for the rest of my life depending on someone else to be the creative genius. I didn’t want to live with myself that way. It’s funny, in the…
March 1983
I was with Keith Moon the night before he died. We went to the premiere of a Buddy Holly film. There was a reception and we were talking with Paul McCartney and he said, “I’ve got this idea and I…
Philly Joe Jones
Miles Davis was the only group I gave up New York to go out with. That was in ’54, and it was my greatest experience in the music business.I don’t think I’ll ever be associated with four people like Miles,…
Matt Chamberlain
I like the idea of being influenced by one thing while you’re playing something totally unrelated. Maybe on your drive to a session with a singer-songwriter, an N.W.A. song comes up on the radio and influences you to try some…
Steve Jordan, June 1985
I would go down to Boomers to hear Billy Higgins or Philly Joe, and they had this looseness. I wanted to combine that kind of looseness with the syncopation of Jack DeJohnette, but I still wanted it to be a…
