DRUMS
MULTIPLE DRUMMERS & PERCUSSIONISTS. HONORING RON KENOLY | Carl Albrecht
I just found out my friend and worship mentor passed away. Ron Kenoly, an Integrity Music icon, was 81 and continued to lead worship around the world up until his heavenly graduation. He had just returned from a tour of Indonesia and was scheduled to go out again very soon. But the Lord called him home. We are all sad today, but rejoice with Ron knowing that he now gets to worship his Lord and King face-to-face. I’ m sure there will be many tributes in the coming days, but I will focus here on the drumming and percussion demands of playing for Ron and other artists and groups that utilize multiple drummers and percussionist.
I’ ve worked on many projects or live events with a percussionist or have been the percussion guy next to the drummer. That is pretty normal. The challenge in that setting is always to play together with the same time and feel that the music requires. You have to listen to every nuance of the other player( drummer) and the whole band really. But it all builds on the foundation of a great drum and percussion groove.
In most settings I’ ve played to a click, drum loops, or stems( tracks). There’ s no moving around the tempo in that setting. You have to focus on sounding as one with the“ guide elements” and the other players. There might be a slight push or pull in the time feel, but you can’ t wander too far from the center of the click. Practice with this at home and with your band all the time and it will become easier over time. When players ask me how long they should do this I always say,“ Well … for the rest of your life!” Every great player I know has always done this. It’ s part of our calling. And when you work on it that much it becomes second nature. That is the goal … to practice to clicks and loops until you don’ t struggle with the feel.
Whether it’ s two or several drummers or a drummer and several percussionists the goal is to always“ sound like one.” Check out“ The Battle Is The Lord’ s( Live).”
Yes, I had hair then. In this setting Chester Thompson, Alex Acuna, and myself are all playing a groove Tom Brooks composed for us. Only with slight variations did we navigate the structure of the song. His idea was to create the power of a marching band with a rock feel! Well done Tom! Each drummer added some personal style to the written part, but did not loose the scored drum part in the process. Yes, we are all listening to the click. I’ ve only done this type of thing a few times in recent years. But the goal is always the same. Watch, listen, and lock into the other drummer( s) and the click. A great way to practice this is to copy the drums on songs as closely as possible. Play so perfectly that you hardly hear the recorded drums. If you can, record yourself with a track and go back and listen to your performance. It’ s an awesome learning tool.
The other approach to multiple players is more common. Whether you’ re the second drummer or a percussionist you work on complimenting the other player. In other words, you’ re filling in some of the space that the other player doesn’ t cover. The time, feel and tempo are locked in, but you play patterns or sounds that compliment the other guy. Check out this classic,“ Mourning Into Dancing.”
In this tune Chester is playing kit, Alex is on timbales, congas, bongos and tambourine and I’ m playing shakers, tambourines, agogo bells,
whistles, vibraslap and some other“ toys.” For a modern reference check out some of the Elevation songs on YouTube( Praise, etc.). In modern production you can also find drum and percussion camera shots. I wish we would have had more of that back in the day.
In all of these combinations you should always listen for the spaces. Where would your sound really fit. Also don’ t forget to NOT play. Sometimes the best musical idea is to wait later in the song to add elements. Of course the worship leader, music director, or producer gets to guide the arrangement. Don’ t hesitate to ask how much they would like to hear. Even if you have a lot of experience and great musical extinct it’ s always important to remember you are still serving. My general approach in these settings is to build slowly. Leave a lot of space early on or at least a simple shaker part, and then build the song as you go. Of course always listening intensely to the drummer, another percussionist, and the whole ensemble … including the leader and background vocals.
“… when they made a sound as one the glory of God filled the temple!” – 2 Chronicles 5:13
Bless you as you“ sound like one” with your team.
Carl Albrecht Professional drummer for 30 + years, playing with Paul Baloche, Don Moen, Ron Kenoly, Abe Laboriel, LeAnn Rimes and others. He’ s also a clinician, author & pastor. Contact Carl for coaching, online lessons, producing, or sessions. I’ m still growing too... www. CarlAlbrecht. com carlralbrecht @ gmail. com
86 February 2026 Subscribe for Free...