The following interview was conducted between
three drummer/percussionists that I admire.
What they all have in common is their ability
to master both assiduous disciplines. Many
drummers do not make good percussionists,
and most percussionists are not necessarily
good drummers. It is a rare gift to be fluent in
both disciplines and in multiple musical genres
and situations, both live and in-studio.
Giulio (Julio) Figueroa (Cirque du Soleil, BB
King, Tommy Walker) Todd Bragg (Caedman’s
Call, Crowder), and Carl Albrecht (Ron Kenoly,
Don Moen, Kathryn Scott, Paul Balodhe),
all meet this very specific criteria, and all are
brothers in the faith.
[Alex] Since we all probably started out
powerful moments in worship where it felt right
banging on tabletops, I’m calling this a “rhythm
roundtable” discussion.
[Todd] Are we supposed to stop banging on
tabletops? (laughing)
[Alex] Point taken!
[Julio] Yes Sir! I started banging on our
“When practicing to go way out on a limb… and then break it
don’t play, and just like the record if that’s what they want. It’s
when playing, play.
don’t practice.” [Todd] Yes, but it depends on the context.
-Julio
family sofa with my mother’s knitting needles,
and finally one day I got upgraded to a four-
instrument to bang on!
[Alex] Playing in bands, on worship teams,
and behind artists, requires rehearsal to “lock
in” parts. I know for myself, when performing
the same songs night-after-night, I often would
look for spots to improvise and open up a bit
spontaneously. Do you do the same thing?
[Julio] Well, that is always a fine line
because although we know that looking for
spots to improvise is a natural reaction to
avoid monotony, I ultimately know that the
other musicians that I am playing with enjoy
consistency. So, I always try to stay focus and
play the same parts that had been previously
rehearsed, recorded or that I originally created.
I have a line that I always repeat to myself, and
always about breathing life into everything you
I definitely prefer to allow spontaneity or
personality to be present in what I’m playing.
However, I always want to be mindful that the
parts I am covering are a result of someone
piece jazz kit once my parents realized that I
was never going to stop, unless I had a real
off! (laughing) But I’m just as happy to play it
it goes like this: “When practicing don’t play,
and when playing, don’t practice”. It has served
me well, and I always get lots of compliments
about how consistent I am.
they are. So I want to respect that first, then
find a way to serve the song with whatever I
can bring to it. Maybe that’s duplicating it
exactly or playing something that compliments
[Carl] That is always up to the artist, worship
leader, or band director. I always start with
copying the recording as much as possible
and then stretch out as far as I’m allowed. It’s
important to have good communication with
the leader about it. Even if I am given totally
liberty to play whatever I feel my ultimate goal
is to honor the music and make that sound
as authentic and passionate as I can. Even
when I’m adding more stuff for the sake of
the live moment needing more energy, I still
want it to work in context. Of course, everyone
can approach that differently. It can be a
very subjective thing. There have been some
November 2019
else’s hard work deciding they should be what
the part or communicates the emotion of the
part in my own way. It is important to have that
conversation with whomever you’re working.
This will avoid a lot of potential confusion if
discussed on the front end.
[Alex] Why is it that many good drummers are
not necessarily good percussionists?
[Todd] I, personally, don’t know if I’m qualified
to answer that question. But when I think of
good percussionists, I think of guys that have
focused on congas or timbales, hand drums,
and studied more world rhythms and what not.
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