Todd Vinciguerra:
Author of "Beginning Independence for Rock and Alternative Drumming",


"Studies in Drum Set Independence Vol. 1 & 2"

published by Mel Bay Publications.

Scott Bender, drummer:
I moved from Seattle, Washington to Las Vegas, Nevada in July 2000. I have played everything from Classical, Top-40, Heavy Metal, Disco, Punk & Marching Band.

Some of the drummers I look up to are :






I would say my natural style of playing is like Steven Adler (Gun`s `n Roses), Mark Michals (Faster Pussycat), Steve Riley (L.A. Guns/W.A.S.P.), and Garth (Wayne`s World)... OK, I am just kidding on the last one! But hey, "I Like to Play".

Steve Smith was originally drawn to the drums by hearing marching bands in parades as a child in his native Massachusetts. At age nine, in 1963, Smith began studying the instrument in earnest with local teacher Bill Flanagan, who played in big bands in the swing era.

Smith's early inspiration at this time was drawn from the great drumming stars of the big bands such as Gene Krupa, Buddy Rich, Louie Bellson and Kenny Clarke, among others. In particular, regular trips in his youth to The Boston Globe Jazz Festival, where he first saw and heard his idols, made a special impact on his musical endeavors.

Smith performed in the usual school band program and garage bands while in his teens, but also began to broaden his performing experience by playing in a professional Brockton concert band and even the big band at the local college, Bridgewater State. After high school, Smith began studying music at the famed Berklee College of Music in Boston in 1972. There he received valuable instruction from such renowned teachers as Gary Chaffee and Alan Dawson. His drumming influences at this time came to include such notables as Tony Williams, Billy Cobham, Lenny White and Steve Gadd ...

Tony Royster Jr. - Drummer, Official Site of Drummer Tony Royster Jr.
Tony Royster Jr. is only 21 years old and has been playing drums since the age of 3. Often referred to as a "prodigy" by his fans, he has participated in numerous drummer events and contests worldwide including the 1995 Guitar Center National Drum-Off competition in Hollywood, CA which he won at the ripe old age of 11!
Tony is becoming accustomed to high-profile performances that include TV's Nickelodeon House Band (lead by Paul Shaffer of the David Letterman show), the Jenny Jones show, the 42nd Annual Grammy Awards show, and an international tour in 2001 backing #1 selling Asian artist, Hikaru Utada. Additionally, he is regularly invited to perform at prestigious events worldwide such as PASIC (Percussive Arts Society International Convention), Modern Drummer Festival, the Montreal Drumfest, and the Florida Drum Expo.

Proficient in numerous styles, Tony excels at Funk, R&B, Latin, Rock, and Jazz. He has performed alongside such notable drummers as Dennis Chambers, Billy Cobham, Steve Smith, Sheila E., and veteran drummer Chester Thompson. He has also graced the stage with legendary musician's Branford Marsalis, Paul Shaffer, Jimmy Jam and Terry Lewis, among others.

Tony Royster Jr. was voted #1 Up and Coming Drummer by Modern Drummer magazine 2000 readers' poll and has been voted #2 in the UK 2001 readers' poll. He has appeared on the cover of the millennium issue of Modern Drummer magazine with Dennis Chambers and continues to receive high marks that earn him endorsements with companies such as DW Drums, Zildjian Cymbals, Vic Firth sticks, Evans drumheads, LP percussion, Drumframe, Shure microphones, Warner Bros. Publications, HQ percussion products, Drumometer, and Specialty Cases ...

Charles Connor's (Little Richard's original Drummer) Official
Web page.
CHARLES “Keep-A-Knockin” CONNOR, original drummer for Little Richard, created the unique “Choo Choo Train” style of successive eighth notes with a loud backbeat used by nearly all subsequent Rock 'n' Roll drummers and, in fact, his drumsticks are on display at the Rock 'n' Roll Hall of Fame Museum in Cleveland, Ohio.


The son of a chief chef Merchant Marine seaman and father from Santo-Domingo and a Louisiana-born mother, CONNOR reveals, "I was born in New Orleans, in the heart of the French Quarter, the very hub of Cajun, Blues and down-island rhythms. My mother told me that whenever music was played, I kicked really hard in her womb.” He grins and exclaims, “I was born to be a drummer!” He winks and continues, “Probably 'cuz of that exotic Creole and Dominican blood coursing through my veins,” then laughs mischievously.


As a toddler, CONNOR was drawn to marching parades and the “second-line funeral bands” playing Dixieland jazz through the streets of New Orleans and loved to hear his father, home on a three-month leave, sing Calypso songs around the house. Imitating the drums, CONNOR banged on pots and pans all-day and cried hard when his mother had to take them away to cook family meals.


Although his parents had two other sons and a daughter and could not afford expensive gifts, they saved enough money to buy CONNOR his first drum set when he was five. When his drumming became “a loud nuisance” to the neighbors, he practiced with his drumsticks four to five hours a day on a practice pad.


Inspired by such notables as Bob Alden, Art Blakey, Charles Otis, Gene Krupa, Buddy Rich and Max Roach, CONNOR dreamed big and diligently spent all his spare time working towards his goal of becoming “a professional drummer.” His hard work paid off at age 12 when he began playing drums for local parties and wedding receptions, but his “professional” career began at 15 when Roy “Professor Longhair” Byrd hired him as a last-minute replacement for the 1950 Mardi Gras in New Orleans.


With family blessings and his mother's sage advice, “never use your skin color as an excuse; never doubt yourself; if you believe in yourself, everybody else will, too,” CONNOR went on to drum for Smiley Lewis, Guitar Slim, Jack Dupree then Shirley and Lee.


At 18, CONNOR joined flamboyant Little Richard's original road band, The Upsetters, his joy marred only by the deep racial intolerance the band had to endure. CONNOR says, “[Black] musicians back then didn't have Rev. Martin Luther King, Jr to motivate them. We had to find inspiration from our faith and within our hearts.”


CONNOR cocks his head and says, “Little Richard was an ingenious promoter. To draw attention to his band and ensure they could perform on stage, he had to show bigots that the band wouldn't threaten their way of life. Little Richard promoted the band and avoided racial prejudice by insisting the musicians wear thick pancake makeup and act effeminate!”


CONNOR pulls at his chin, and then smiles as he admits, “ I really had fun. I worked with artists like Lloyd Price during vacations from Little Richard and, since Little Richard and James Brown shared the same booking agent, on "off-nights" I appeared with “The Godfather of Soul,” who coined the phrase, “CONNOR was the first to put the funk in the rhythm!”


CONNOR continues: “I was 20 when Little Richard's band toured the United States in 1955. We played all the major theaters, including such prestigious venues as the Turner Arena and Howard Theater in Washington, D.C.; the Royal Theater in Baltimore, Maryland; the Apollo Theater in Harlem and the Paramount Theater with Alan Freed in Brooklyn.” He says in awe, “In New York, the white teenagers saw blacks having so much fun that they would dance in the aisles with them! Man, those were heady times,” and chuckles aloud.


While on a 1955 tour of Japan and the Philippines, a young girl approached CONNOR, and asked for an autograph, but he had no idea then that she would later influence his life. The years disappear as he grins and, in wonderment, says “[For some reason] I wrote: I hope you come to America someday. Keep Rock 'n' Roll in your life.”


Gaining momentum in 1956, Little Richard's band appeared in such popular feature films as “The Girl Can't Help It” with actress Jayne Mansfield; “Don't Knock the Rock” and “Mr. Rock 'n' Roll.” Then, as Rock 'n' Roll exploded on the music scene, the band recorded several hit songs like “Keep-A-Knockin',” featuring CONNOR'S first four-bar drum intro on a Rock 'n' Roll record; “ Ooh! My Soul,” also featuring CONNOR'S distinctive "Choo Choo Train" beat; and “She's Got It,” with a regular backbeat. CONNOR reminisces, “The Civil Rights Act may have been passed in 1964, but Rock 'n' Roll music brought young people and the world together a decade earlier.” He concludes proudly, “We got respect and power; our popularity cut across racial lines” ...