April 2012 Issue – Volume 37 • Number 4

April 2012 Issue – Volume 37 • Number 4

TONY ESCAPA: In Constant Motion

Exemplifying the power of versatility and the perseverance of tradition, Ricky Martin’s main rhythm man is a juggernaut of sheer drumming muscle. If you could somehow merge the monster groove of Abe Laboriel Jr., the jazz skills and independence of…

Michael Sarin

Texture shifts, quiet drive, and a finely honed melodic sense are the subtle tools this drummer uses to facilitate some of today’s most intriguing new jazz. “One thing I like to do is mute the snare with the brush, then…

CHAD SEXTON: A Free Spirit to the Corps

Chad Sexton and 311 have been riding a wave of good vibes for over twenty years. Since the band’s 1993 debut album, Music, which followed several independent releases, there have been no hiatuses, no lineup changes, and no periods of…

Glenn Kotche

The lengths some people will go… Wilco’s compositionally minded drummer prepares his kit with a glorious array of mechanical and digital devices, each with a specific, meaningful effect—and its own set of performance demands. At one point in the middle…

Chops Builders Part 18: Irish Spring

This month we’re going old school—with a new twist. What we’re working on is a standard exercise called Irish Spring that comprises swung double beats with smooth hand-to-hand turnarounds. This exercise has been used by rudimental drummers for decades, but…

Open-Handed Playing Part 3: Triplet Groove Systems

In this article I’d like to take the idea of avoiding crossed hands into the rhythmic field of triplets. Triplet-based grooves have their own special twists and turns. Playing these ideas open-handed can be a serious challenge, one that will…