Online biography of drummer Joshua Jacobsen.
The first percussive sounds began with card board boxes, ice cream buckets, and old pans. Joshua, a mostly self taught musician at the age of 13 had realized his dream to become a drummer and pursued it.

Joshua began his first musical learning career in the musical setting at the Benton Community Middle / High School. At BC he performed in Jazz Band, Pep Band, Marching Band, Show Choir, Musicals, Concert Band, and even Concert Choir as a percussionist. He received numerous honors in Jazz band at Eastern Iowa Contests. One of the most notable awards is the most outstanding performance and Solo award presented by N.E.I.B.A. (North Eastern Iowa Bandmasters Association). Joshua has for over 8 years and is currently the drummer for the Billy K. Murray Parade & Concert Band based out of Atkins, Iowa.

The problem with high school was finding a band of his own. Since the school was a community school of about 400 people, there were few serious musicians interested in a rock band. As a result, A large amount of time and free time was devoted to focusing on technique and skills of various percussion instruments.

Upon enrolling at Iowa State University, Joshua begins to seek out musicians in order to fill the musical band void he had desperately craved throughout his life. Unfortunately, as a result of college dorm life Joshua was forced to abandon his drums and leave them to sit unbeaten at his childhood home. Practicing on pillows, boxes, trash cans, & Dorm Chairs with various acoustic guitarists in the dorm was his only way to practice and continue to develop as a drummer.
Joshua's first band was born in 2001. Mechanistry, a progressive rock group that surprised the local scene with a totally new sound and technically advanced musicians was born. Mechanistry performed throughout Iowa for 2 years. Unfortunately, it was inevitable that it would not succeed as guitar and singer turnover was high. The loss of drive to continue finding and training new members and no practice place, ultimately ended the group.

After the first year of playing with Mechanistry, Josh began playing with a local band named Atrophy. Atrophy was a simpler style of music that won over the bar crowd and nearly anyone that listened to the group. They also had the chance to open for Momento (Sony Records label). Atrophy is still performing today. A full length album is due out by 2005.

Today Josh is actively performing in the Des Moines based Heavy Metal band, Anubyss! He has also bridged over into the studio & recording realm as a Drum Technician at the Dawg House Recording Studio based in Nevada, IA and been sharing his knowledge and style through drum lessons since 2003 ...

Luc Bergeron is a Westbrook, Maine-based drummer.

Luc Bergeron, originally from Lewiston, Maine, comes from a family of musicians and singers on both his mother's and father's sides, but is the only one in the family who had any interest in drumming. After much begging and pleading he was finally given a used drum set when he turned 12. His first formal lessons were with regionally well-known drummer and teacher Dick Demers.
Luc was a founding member of the rock band "Symmetry" while still in high school, which in 1986 recorded a demo that snagged national management (Fred Lewis - ex-mgr for "The Cars"), received radio airplay in Maine and Massachusetts, and generated major record label interest. The band played extensively through New England. After he left Symmetry in 1988, he spent a while wondering what he was going to do with his life, and decided to attend the University of Southern Maine as an English major during the fall semester of 1989. When he saw master drummer Steve Smith (Journey, Vital Information, sessions artist) in the spring of 1990 at a concert at the University of Maine in Augusta, it moved him to get serious about music, and so attended UMA's nationally known Jazz and Contemporary Music program ...

Drummer Winard Harper's website features sound bites, discography, itinerary, reviews, work with the Harper Bros, biography, etc.
Drummer WINARD HARPER is passionate about jazz.
"This music is powerful," he says. "It can do a lot of good for people. If they'd spend some time each day listening to it, we would see many changes in the world."

Inspired by the musicianship of greats such as Clifford Brown, Max Roach, Cannonball Adderley, Dr. Billy Taylor, Art Blakey and Billy Higgins, Harper has been the leader and musical inspiration for a vibrant sextet for almost a decade. The group appears regularly all over the United States from the Kennedy Center in Washington, D.C. to Yoshi's, the legendary West Coast jazz club. Although clearly the dominant force behind this extraordinarily gifted ensemble, Harper has surrounded himself with superbly talented young guardians of the jazz tradition, who are as entertaining to watch as they are to listen to.



Born in Baltimore in 1962, Winard had a natural affinity for drumming. He was encouraged to play the drums by his father, who noticed him beating on cans when he was three or four years old. At the age of five, Winard was developing his skills and making guest appearances with his older brother Danny's nightclub band. A turning point was reached when Winard heard a recording of Clifford Brown and Max Roach. It was then that he was irreversibly inspired to play jazz. "I was fascinated hearing Max do the things he did playing with mallets and everything," he remembers ...

My name is Thomas Lang. I was born 05. 08. 1967 in Vienna, Austria
and I started playing the drums at the age of 5.
I grew up in a little town called Stockerau in Lower Austria, about 25 miles outside of Vienna.
My parents Kurt and Helga were very supportive of my early ambition to become a drummer and allowed me to attend the local music school for drum and piano lessons.
My first drum teacher was a gentleman named Johann Hengst who was a classical percussionist and played with Viennese orchestras.
He taught me to play traditional grip and to read music.
Although at the time it all seemed very boring and tedious, I really benefitted from his lessons in many ways.
I only had a snare drum for about a year when I started playing, but gradually, I increased the size of my kit over the years by requesting additional parts on every Christmas and birthday wish list.
I got into pop and rock music right away and Ringo Starr was a big influence in my early drumming days. I used to play along to 50’s and 60’s rock n’ roll tapes and early Beatles songs for a few years before I was first introduced to heavy rock by some local musicians I used to jam with.
We played Deep Purple, Black Sabbath and Free covers and after about two years started trying to get local gigs. We never succeeded, so my first gig was playing the bongos with the local choir where my mother was a member. I was 10 or 11 years old and I got a pair of sticks for my performance…it was great fun and very exciting.
After a few more years of jamming and gigging with local bands and studying with various teachers, I began attending the conservatory in Vienna where I studied with Walter Grassmann.
There I was introduced to jazz and fusion and was trained to play in Big Band style and to read proper charts and lead sheets.
I was not able to really get into the style of music I had to study and play, so I left after about four years. During my time at the conservatory, I met a lot of other young, ambitious musicians and I started playing loads of regular club-gigs in and around Vienna.
At that time I spent all my modest income on trips to drum and music schools in America, private lessons and on equipment.
My parents were also still supporting my various trips and endeavours morally and financially. Apart from providing me with a very comfortable rehearsal-space in the cellar of their house until I moved out, they have always been supportive of my pursuit to become a musician. Without them, and their constant constuctive criticism, I would not have learned from my many mistakes.
I started working with bigger acts and touring around Austria and Germany and one thing led to another. I slowly worked my way through the European pop, rock and jazz scene and was booked to work on increasingly popular productions. During this phase, I worked with up to 15 different bands and artists at the same time, squeezing as much work as possible into my schedule. I always tried to stick to my strict practice plan and I religiously followed a constantly evolving daily practice routine. I try to stick to this method of discovering and developing new ideas to this day.
In addition to practising, the growing amount of gigging and touring gave me a pretty good idea of what to work on and how to apply my experiences creatively.
The recording work I was being hired for, formed a crucial part of my development and I learned a lot by listening to my own inefficient and clumsy playing.
I also came to realise that I needed international exposure, not just to get my name out there but to absorb international musicians’ influence. Having travelled to England throughout my youth, I knew that London had more musicians per capita than any other capital city in the world so off to London I went.
When I first moved to the U.K., I taught drums at the Musician’s Institute and the London school of Music from 1995 to 1996.
Now, my schedule does not allow me to pursue teaching anymore, but I still give private lessons occasionally because I believe there’s a lot to be learned from my colleagues’ and students’ different and interesting approaches. Unfortunately, I hardly find time to practice myself these days, so I keep the teaching to a minimum, but I have increased the number of master classes, clinics, seminars I give and have participated in more and more video productions to share my ideas.
Over the last ten years, I have recorded hundreds of albums and toured extensively with a host of bands and artists worldwide.
I tried to always learn and grow as a man and musician and see opportunity and potential in everything I encounter along the way.
In 1995, I recorded my first solo-album entitled “Mediator”, and that same year, I recorded a two-part instructional video series complete with a booklet (“Ultimatives Schlagzeug”). It was the first instructional German language drum video ever produced and after being made available via the Internet for a few years, it is now sold in drum shops across the world!
I’m now producing not only my own CDs and videos, but I’m also co
writing for and co-producing various artists around Europe.
I have been permanently based in London, England since 1995 and have a second home in Vienna, Austria ...

Jazz drummer Terri Lyne Carrington's website includes bio, itinerary, reviews, drum set-up, cds, etc ...
World-renowned drummer, composer, producer and clinician, Terri Lyne Carrington, has maintained her status in the industry as a person to watch for over 20 years.

Born in Medford, Massachusetts in 1965, Terri developed a reputation as a child prodigy, jamming with jazz veterans Dizzy Gillespie, Rahsaan Roland Kirk, Oscar Peterson, Joe Williams, and many more. At 7, she was given her first set of drums, which had belonged to her grandfather, Matt Carrington, who had played with Fats Waller and Chu Berry. After studying privately for three years, she played her first major performance at the Wichita Jazz Festival with Clark Terry. Shortly afterward she received a full scholarship at age 11 to Berklee College of Music where she started playing with such people as Kevin Eubanks, Mike Stern, Greg Osby and others. She also studied under master drum instructor Alan Dawson and made a private recording entitled, TLC and Friends, with Kenny Barron, Buster Williams, George Coleman and her dad, Sonny Carrington, before turning 17 ...