When working with multiple artists, each requires a different approach. I find it helpful to start by imagining what the artist might want to hear and feel from the drum world. For example, one artist may want something very drumloop-oriented, while another artist may want their drums to be extremely interactive, dynamic, and organic.

On the Shakira gig, I am asked to cover a very broad spectrum of styles within the course of one concert. Some of her songs are based around eighth-note rock beats where I get to put on my John Bonham hat. Others are full-on dance tunes where I play 4-on-the-floor disco beats. There are even some songs that are so electronic that I find it better to play them on my DrumKat and Akai sampler. I simply sample all the kicks, snares, and explosions from the original Pro Tools sessions, and lay them out across the DrumKat. Then, I perform the parts as if I were a drum machine so we can avoid using too many sequencers on stage. Over time, I have found that certain songs sound better when played exactly like the record, and other songs allow more room to experiment, adapt, and rock out.

Several drummer friends and I were speaking the other day about some of our favorite drum recordings of all time. Here are a few albums that make me jump out of my chair every time they show up on my iPod shuffle.

(1) Miles Davis “Four and More” (w/ Tony Williams)
(2) Jimi Hendrix “Axis Bold as Love” (w/ Mitch Mitchell… mostly)
(3) Joshua Redman “Spirit of the Moment” (w/ Brian Blade)
(4) Al Jarreau “Breaking Away” (w/ Steve Gadd… & Jeff Porcaro on one track)