Posts tagged rules for drummers
How To Keep It Moving When You've Hit A Road-Block | Steve Such Drums


No matter what path you end up on, it will not always be a smooth trip. You WILL hit road-blocks from time to time… guaranteed! What actually matters is not the actual road-blocks themselves, but what we do about them.

When you've hit a road-block, does the train grind to a halt or do you find a way to keep it moving?

I was recently listening to one of my favorite podcasts, “The Tim Ferriss Show,” and in one particular episode, Tim was offering some advice for what he tries to do when hitting various “road-blocks," the moments where you seem to find yourself banging your head against the wall trying to solve a problem that seems impossible.

His advice? When facing a road-block, Tim simply asks himself the following question:

“What would this look like if it were easy?"

Asking yourself this one, single question acts as an incredibly powerful tool for solving problems, reducing stress, and getting past the various road-blocks we face.

What is it about this question that is so powerful? By imagining the easiest possible scenario first, we often forget about the problem and instead focus on the solution. By imagining an easy scenario, we’re forced to eliminate complexity. It then becomes quite clear which things need to be changed, added, or removed.

In this article, I’ll provide 2 practical examples of “road-blocks” that a musician might face, and how we can use Tim’s strategy to completely eliminate them.


Let’s say you get a call from a band-leader who got your contact information through a mutual musician friend. He explains to you that the drummer in their band is sick and they need a fill-in drummer who can play their entire 30 song catalog, without a rehearsal.

"The gig is in 2 days and pays $400... can you do it?"

Normally, you’d have no problem playing a gig like this because you know how to write out quick charts that you can use on the gig. But, there’s just one problem... you’re completely swamped over the next 2 days and won’t have any time to write out the charts. You’ve hit a roadblock.

Most people, at this point, would turn down the gig.

But what if you stopped and asked yourself: “What would this look like if it were easy?"

Well... if this were easy, the charts would already exist; you could just sight read them on the gig. Because you know how to sight-read charts at a high-level, you’d be able to accept and play the gig.

So, working backwards, how do we use charts on the gig if we’re not able to make them ourselves? Here’s a solid solution: Hire a drummer friend to write out the charts for you and give them part of your pay for the gig. Explain that it would be an easy way for your friend to learn some tunes, they could keep these 30 charts for their own use whenever needed, all while making some cash… not to mention that they would be helping you out tremendously. Everybody wins. You get to play the gig and your friend makes some money out of the process.

Now, let’s take a look at what just happened here. If you’d just stopped at the road-block (in this case, not having enough time to prepare), you would have turned the gig down, missed out on potential income, and also missed out on opportunities for future work with that band. However, because you worked backwards imagining the easiest scenario possible first, you found a way to eliminate the roadblock. You were thus able to play the gig, make some money (for both you and your friend), all while creating the opportunity for future work with that band! How’s that for problem-solving?


Let’s say you’re a “hired gun,” making your living playing with a number of different bands. You might be hired for several days at a time up to several months on tour. Travel becomes a huge part of this nomadic lifestyle you’ve chosen, which is great! The problem is, when you’re NOT out on tour, you suddenly don’t have a place to live... You want to live in a house/apartment and feel like a “normal person," but it doesn’t necessarily make financial sense to sign a lease or enter into contracts with various utilities like water/cable/internet when you might need to leave town at a moment’s notice. You don’t want to crash on couches, but you also don’t want to be forced into renting a place that you may only live at for a few months each year. We’ve hit another road-block.

Again, we need to turn to our trusty question: “What would this look like if it were easy?"

If housing for traveling musicians were EASY, you wouldn’t have ANY signed leases or contracts. The place you stay would always be furnished (eliminating the need for “moving") You wouldn’t have to pay utilities, and you would easily be able to pack up and leave for a gig without losing money renting a place that you aren’t occupying. You only pay for the days you actually live there.

The solution: Use a service like AirBNB, where you simply pick the days you’d like to stay. When you need to leave town for a gig, simply place all your belongings into storage.

See what we did here? Because we first imagined the easiest possible outcome, it allowed us to work backwards to find a way to get past the housing road-block.

*Side Note: This solution is precisely what I’ve been doing for over a year now. Living through AirBnb has saved me thousands of dollars annually, and has also allowed me to see more of the world in between gigs. I used to need to fly home between gigs, but with the AirBnb solution, I simply choose where it makes the most sense to live next. For example, last year I had an entire week off between gigs and decided to stay in New Orleans, a place I had always wanted to visit. If I had been paying a monthly rent check to a landlord, this kind of one-week trip would not have made financial sense. The AirBnb solution allows me to see the world while actually SAVING money... It’s bonkers!


To recap, when we face the inevitable road-blocks of life, the best way to keep moving is to first imagine the easiest possible scenario (“What would this look like if it were easy?”), and then work backwards until you come up with a solution for how to make that scenario become a reality.


1) Take an assessment of any major “road-blocks” in your life: What are the things you encounter regularly that seem be more difficult, inconvenient, or inefficient than they should be?
2) For each of these road-blocks, ask yourself “What would this look like if it were easy?"
3) Once you’ve created the ideal scenario in your mind, work backwards and decide which specific actions will allow you to turn this imagined outcome into a reality.
4) Take action.



Thanks so much for reading this week's article! Each week, I select one person from "100 RULES FOR DRUMMERS” and write an article based on the three-word rule they offered. My goal is to provide questions, thought experiments, and specific action steps you can take in order to improve both your DRUMMING and LIFE!

If you personally found this article helpful, please pay it forward by sharing it with just one person in your life that you think would become inspired from reading it!

Subscribe to 100 RULES FOR DRUMMERS by clicking HERE.

If you have any questions, comments, or feedback, I’d LOVE to hear from you! Please feel free to reach out anytime using the comments section below or by emailing me at





Thank you to Tim Lefebvre for offering his 3 words of advice to drummers (KEEP IT MOVING) and for inspiring me to write this week's article!

Rocketing between New York and Los Angeles, Tim Lefebvre is quickly carving out a bold and progressive vision of what a contemporary bassist can and should be. Fashioning a leadership role in avant-garde jazz and funk circles, Tim is also a capable and reliable sideman routinely called upon by today’s leading innovators from across the musical spectrum including: Tedeschi Trucks Band (his full-time gig), Chris Botti, Toto, Sting, Uri Caine, Dave Binney, Donny McCaslin, Mark Giuliana and Donald Fagen.

A native of Foxboro, Massachusetts, Tim majored in both political science and economics before earning his gigging stripes, on of all places, a cruise ship, thankfully not the Carnival “Triumph.”

Once back in port, Tim dove headlong into New York’s burgeoning underground live electronica and jazz scenes, exposing himself to some of the city's most progressive players including drummer Zach Danziger and the legendary guitarist and former Steely Dan sessions player Wayne Krantz.

As word spread that a funky new bassist was in town, bridging the gap between James Jamerson’s signature strut and an emerging live-tronica sound, Tim’s opportunities grew. Furiously incorporating the dictates of the avant-garde with a more mainstream and commercially viable sound, Tim emerged from this formative period with a singular style and a trajectory for evolution that has yet to lose steam.

Tim’s career began to skyrocket when he subbed in Saturday Night Live’s house band, quickly catching the eye of television and film executives, soon landing playing and writing roles for shows such as “The Sopranos,” “30 Rock,” “The Apprentice,” and “The Late Show with David Letterman.”

It wasn’t long before Hollywood came calling. Tim performed on a number of movie soundtracks including "Oceans 12," "The Departed,“ “Analyze That!” while composing music for “Harold and Kumar Go To White Castle,” “Please Give” and commercials for Microsoft and Chevrolet.

Tim’s good fortune, open mind and willingness to play with anyone and everyone has supercharged his development enabling him to play with genius talents such as the guitarist Wayne Krantz, the neo-classical jazz pianist Uri Caine and scores of other. A recent domestic and European tour with ferocious post-bop saxophonist Donny McCaslin cemented Tim’s status as one of the industry’s most sought-after rhythm partners. Recently he recorded a record with Germany's Michael Wollny ("Weltentraum" ACT music and vision) that was awarded the ECHO trophy for Best Jazz Record of 2014.

He is Endorsed by Moollon Guitars, Callow Hill Guitars, MXR + Jim Dunlop Efx, Ableton Live, TC Electronics, Izotope, M Audio, Ampeg, and DR Strings.

Appearances with/recorded with  Leon Russell, Chris Robinson, RIta Coolidge, Taj Mahal, TOTO, Empire of the Sun, Jon Batiste and Stay Human, Chaka Khan, David Hidalgo, Emmy Rossum,  Nick Cave & Warren Ellis, AR Rahman, , Corinne Bailey Rae, Allessandro Amoroso, JOVANOTTI,  Donald Fagen, Roseanne Cash,Till Broenner, Patti Austin, Mark Isham, Draco Rosa, Tony Orlando, Donny Osmond, Neil Diamond, Barry Manilow, Andy Garcia, Anthony Hamilton, Bette Midler, Drew Barrymore, Snoop Dogg,  Jim Belushi, David Holmes, Pati Yang, Paula Cole, Melissa Errico,  Jon Spencer Blues Explosion, Larry Carlton, Deborah Gibson, Abe Laboriel, Jr.,  Karsh Kale, Russell Ferrante, KT Tunstall, Tenacious D, Jill Sobule, Hildegard Knef, Andy Snitzer, Bob James, David Ryan Harris,  Mark Whitfield, Dr. John, Warren Haynes, Chuck Loeb, Les McCann, Bill Frisell, Chris Potter’s Underground, Arif Marden, David Cassidy, David Johanssen & The Harry Smith’s, M People,  Donny McCaslin, Philippe Saisse, Les McCann, Bill Frisell, Angelique Kidjo, Chuck Loeb, Jon Pousette-Dart, Kneebody, Larry John MacNally, Jim Beard, Steve Coleman, Chieli Minucci & Special EFX, Mitch Forman, Eddie Daniels, Tim Berne, Brian Blade, and Jim Black

How To Turn Off The "Critic Voice" In Your Head | Steve Such Drums

STEVE: “Greg, if you had 3 words of advice to give to drummers, what would you tell them?"

GREG: “...Always Play Honestly."

STEVE: “That’s a great one man! What made you decide to say that?"

GREG: "My mentor by the name of Ernie Adams always told me (and still does) that you can’t think about what you’re playing. As soon as you do, you’re not in the music anymore… you get sucked into your own world. You have to feel it. So to me, play honestly means to be in the mental space to just let it come to you… to play what you feel. If you do, it will all come out well."


Greg is really on to something here... How many times have you overanalyzed your playing DURING the gig? How many times have you had that nagging voice in the back of your head (let’s call it the “Critic Voice”) giving you the play-by-play: “That beat was early! That beat was late! You’re playing too loud! Your time sucks! Stop slouching! Come on man, get it together!"

We’ve all been there before. When you do have the Critic Voice barking at you, there's so much noise in your head that it’s really difficult to play musically, and it’s basically impossible to play HONESTLY (from the heart).

Why? Because in that state, you’re just trying to satisfy the VOICE.

greg essig always play honestly

When we’re in the practice room, the Critic Voice is actually important. It’s how we focus on the details, and it’s how we develop our ears so that we can improve on our instrument.

But when we go on stage, the greats are the ones who know how to turn that voice off!

Turning the Critic Voice off means that you FEEL THE MOMENT. It means that you take more risks. It means that you contribute to the musical conversation rather than staying in the background.


Ask yourself: "When I play on stage, am I playing honestly, or am I simply trying to satisfy my Critic Voice?"

If you have trouble turning the Critic Voice off, consider the following:

1) Consider that, truthfully, you will not get any better at the drums during this gig. However good you are now, this is how good you’ll be by the end of the gig. Don’t try to get better… just do your thing! Accept where you are at right now in this moment and enjoy it.

2) Which conversations with people do you enjoy more? The conversations that are polite, timid, and cautious, or the conversations that are real, opinionated, and raw? Translate that to your playing. Don’t be cautious on your instrument… be opinionated.

3) Why are you so focused on your drumming in the first place? If you have trouble turning the Critic Voice off, try focusing your attention on your band mates instead. How can you interact with them? Are you really listening to them? How can you compliment or enhance what they are doing? If you’re busy having a musical conversation with your band mates, the Critic Voice will have no room to speak.


Thanks so much for reading this week's article! Each week, I select one person from "100 RULES FOR DRUMMERS” and write an article based on the three-word rule they offered. My goal is to provide questions, thought experiments, and specific action steps you can take in order to improve both your DRUMMING and LIFE!

If you personally found this article helpful, please pay it forward by sharing it with just one person in your life that you think would become inspired from reading it!

Subscribe to 100 RULES FOR DRUMMERS by clicking HERE.

If you have any questions, comments, or feedback, I’d LOVE to hear from you! Please feel free to reach out anytime using the comments section below or by emailing me at




Thank you to drummer Greg Essig for offering his three words of advice to drummers (ALWAYS PLAY HONESTLY) and for inspiring me to write this week's article!

Greg Essig, drummer, grew up in Plainfield, IL and attended Northern Illinois University for music performance. He has studied with Ernie Adams, Kris Myers, Mark Guiliana, and Chris Coleman. He’s played with notable artists such as Marbin, Sidewalk Chalk, Jonathan Scales Fourchestra, Chicago Afro Latin Jazz Ensemble and more.

Bruce Becker's 3 Principles For Becoming A World-Class Drummer | Steve Such Drums

When asked to give his single best piece of advice to drummers, the great Bruce Becker responded with the following 3 words:


When we take a look at the true GREATS… the Vinnies, the Gadds, the Weckls, the [insert your favorite drummer here]… what is it exactly that they all seem to share in common with each other?

Besides being incredibly talented, the answer is that they are the ones who have been able to successfully embody each of these three principles at a world-class level.

This week, we'll take a close look at each of these principles; first by defining them and then by explaining how they directly apply to your drumming. However, please keep in mind that these principles don’t just apply to drumming (or even music for that matter)… they can be applied to virtually ANY field of study.

Along the way, we'll complete 3 simple exercises together where you’ll learn to be like the greats while simultaneously developing your own unique "you-ness."

Ready? Let’s get started.



assimilate |əˈsiməˌlāt|
verb [ with obj. ]
-take in (information, ideas, or culture) and understand fully: "Marie tried to assimilate the week's events."


Many of us listen to our favorite drummers and think, “Wow, that’s amazing/incredible/insane! If only I could play like that!” The truth is that you really can learn to play ANYTHING… but you have to first have to understand exactly what it is that you’re hearing.

Looking at the definition of “assimilate” (shown above), sure... we can easily become inspired by what we hear (“take in”) from our favorites, but where many of us fall short is in not taking that crucial next step: learning what’s REALLY going on (“understand fully”).

It IS possible to demystify what seems impossible; we just need to take what we’ve heard and place it under a microscope. We need to ASSIMILATE the idea.


- The next time you listen to your favorite drummer, pick something SPECIFIC that you enjoy hearing (or don’t quite understand yet).
- Start small. Choose one bar of a groove you like, or one cool chop/lick that resonates with you.
- Listen to the phrase over and over… and over… and over… and over.
- Be able to sing the idea out loud. Internalize it.
- Once you’ve internalized the idea you’ve chosen, don’t play it on the drums just yet.
- Instead, write it out on staff paper, note for note.
- Make sure to clearly define/notate all details of the idea (accents, stickings, orchestration, etc.). There’s something special about seeing the idea visually that allows you to TRULY assimilate it.


To help put things in context, I’ll complete these action steps with you along the way. Here’s a transcription of a lick I really enjoy by one of my favorite drummers, Adam Deitch. You can hear it on the song “The Last Suppit" by Lettuce when Adam takes a drum solo at the very end.



Okay. We’ve taken an idea that inspires us and have absorbed it fully. We've ASSIMILATED it. We’re ready for the next step: IMITATE.



imitate |ˈiməˌtāt|
-take or follow as a model: "his style was imitated by many other writers."
-copy (a person's speech or mannerisms): "she imitated my Scottish accent."


Musicians are CONSTANTLY imitating one another, that’s the beauty of the art form! Music isn’t created in a vacuum, it’s created by musicians who are influenced by other musicians!

The difference is that now, you’re well ahead of the game compared to most…. because you’re not just blindly attempting to imitate what you’ve heard… you’ve placed the idea under a microscope first so that you understand its elements. This will make it much easier to play, and play well.


-Begin playing the idea on the drums. Start very slowly and just focus on accuracy at first. Speed will come with time.
-Are you using the correct dynamics/phrasing/orchestration/accents of the idea?
-Are you playing the exact sticking used?
-If you recorded yourself and played it back, would it sound exactly the same as the original drummer? If not, how can you better-match the vibe? You’re not trying to be YOU just yet, you’re trying to IMITATE. Be critical and focus on the details.


Here’s a video where I’m playing the Adam Deitch lick in context. (skip to :55)




innovate |ˈinəˌvāt|
verb [ no obj. ]
make changes in something established, especially by introducing new methods, ideas, or products: "the company's failure to diversify and innovate competitively."


Let’s recap briefly. First, you started by identifying an idea you enjoyed hearing, and now can understand it (ASSIMILATE). Next, you spent time learning how to play it note-for-note (IMITATE). You’re finally ready for the last step... How can you take what you’ve learned and apply it to YOUR world? What are the core takeaways from the original idea and how can you make slight changes to turn it into something completely different and unique?


Change just ONE aspect of the idea you’ve learned. Here’s a few ideas of ways to change it up:

-Different tempo
-Different feel (swung, straight)
-Different time signature
-Different/opposite sticking
-Different rhythmic values (if it was triplets, change it to 16th notes, etc.)
-Different dynamic level
-Different accents
-Different orchestration (what drums/cymbals you play the idea on)


Here’s one variation on the Adam Deitch lick that you can use. Which variable did I adjust? I simply changed the orchestration to now include the hi-hats and toms:


See how many variations you can come up with on your own. Don’t try to create a million variations at once… otherwise you will forget them all. Just focus on one variation at a time and allow some time for it to become part of your vocabulary. Remember to be patient… it’s about quality, not quantity.


Seriously… it’s not enough to just read this article… you have to take action in order to grow.


I can assure you that if you’ve followed the action steps above, you’re most likely feeling awesome right now! Think about everything you’ve accomplished in a very short amount of time: You’ve come to appreciate/understand what the greats have done, you’re now able to channel the vibe of that drummer when needed, and you’ve also come up with brand new grooves/licks of your own!

Imagine if you were to repeat these 3 principles over and over with all of your favorite drummers… you’d soon find yourself becoming better on your instrument than you ever could have imagined. You just have to do it!

Lastly, I want to leave you with this: How can you apply these 3 principles to other areas in your life? (ex: fitness, sports, finance, business, cooking, the list goes on…). For nearly anything you’d like to become great at:  1) study someone who is already great 2) learn how to do what they do, and then 3) innovate by changing the variables and making it your own.

Good luck and happy drumming!


Thanks so much for reading this week's article! Each week, I select one person from "100 RULES FOR DRUMMERS” and write an article based on the three-word rule they offered. My goal is to provide questions, thought experiments, and specific action stepsyou can take in order to improve both your DRUMMING and LIFE!

If you personally found this article helpful, please pay it forward by sharing it with just one person in your life that you think would become inspired from reading it!

Subscribe to 100 RULES FOR DRUMMERS by clicking HERE.

If you have any questions, comments, or feedback, I’d LOVE to hear from you! Please feel free to reach out anytime using the comments section below or by emailing me at





Thanks to Bruce Becker for offering his 3 words of advice to drummers (ASSIMILATE, IMITATE, INNOVATE), and for inspiring me to write this week's article!


What do Neil Peart, Steve Smith, Dave Weckl, and Bruce Becker have in common.....? All of these drummers have sought the unique insights and perspective on balance and motion from drum "guru" Freddie Gruber.
Gruber's reputation rests upon an approach that stresses a more efficient use of the drummer's anatomy. Gruber has often been referred to as the "zen" master of teaching. This rare insight into this approach was spurred on by Freddie's close 40 year friendship with Buddy Rich. It can clearly be seen in Buddy's playing.

Bruce started his studies with Freddie back in 1977. It was at this time when Freddie's activity was at its height. Bruce not only studied for 8 years, but watched Freddie teach. Over the years Bruce was present for hundreds of students and became increasingly aware of the value of Freddie's approach. He was also able to watch the evolution and changes Freddie made in response to musical styles and drum innovations of the time. "I was there at a unique time during the late 70's and mid 80's. The pace at which I saw Mr. Gruber evolve was mind boggling. I would literally spend hours and hang......and this went on for years", Bruce recounts in a June '93 interview in Belgo Beat (Belgian Drum Magazine).

Upon relocating to Europe in 1992, Bruce spent quite a bit of time traveling with Gruber. Together they did a series of Clinic and Masterclasses in Belgium, the Netherlands and Germany. While Gruber would pontificate, Bruce would demonstrate on the drums. At this time Bruce also became the Head of the Drum Dept. at A.I.M. (American Institute of Music) in Vienna, Austria. There he spent time actively putting his thoughts and concepts together based on all that Gruber had shared with him.

Bruce's conceptual approach and unique ability yields great results. His equation is Balance + Motion = Emotion. He offers the most comprehensive insight into the teachings of Mr. Gruber, and has been teaching since '82. Since returning to Los Angeles, Bruce teaches privately and has a steady stream of working drummers.

Bruce has worked with diverse artists such as Suzanne Somers, Beach Boy Family and Friends, Andy Sheppard, Deborah Henson-Conant, David Becker, Joe DiOrio, Herb Ellis, Barbara Dennerlein, Suns of the Dead, and Frank Gambale.

RULE 4: Don't Follow... Lead.

BIO: Eugene McGhee is a Chicago-based bassist and music educator.


 "In the end, it is important to remember that we cannot become what we need to be by remaining what we are." Max De Pree


This week we're focusing on leadership and how it affects our life and the lives around us.

  • How many of us feel stuck in a job that we hate?
  • How many of us stay in unhealthy relationships for far too long?
  • How many of us suddenly wake up one day and ask “where did my 20's, 30's, 40's, etc. go?"


Many of us choose to FOLLOW our life rather than to become the LEADER of it.

If WE aren't leader of our lives, then who is? How do we expect to live life fully if we don't take charge of where it's heading?


1)   Take an assessment of the things in life you are a LEADER of and which you are a FOLLOWER of. Think about your commitments, jobs, relationships, friendships, family, responsibilities, hobbies, etc.

2)   For the things/people in your life you’ve just thought of, is your role (Follower, Leader) serving that thing/person at the highest level possible? Would changing roles improve or hurt the situation?

3)   Is there a particular area in life that you seem to just coast through without contributing positively to? Why is this? Comfort? Laziness? Fear?

4)   How can you become the LEADER of your career, relationships, friendships, on the bandstand, in your commitments, and in life? How can you inspire others around you to fulfill their potential through leading the way for them?

5)   What is the first, smallest single action that you can take TODAY to move towards becoming the leader of your life? 

6)   Don't skip this part. Ask yourself honestly: Is life happening TO you or BECAUSE of you?


Did you enjoy this article? If so, please share this with the ONE person in your life who could benefit from it and suggest they sign up for the weekly dose!

RULE 3: Play It Slow.

Michael Miley began drumming when he was 4 years old. His dad played him “In the Air Tonight” by Phil Collins and after the classic drum fill, Michael knew right then and there what the future would hold for him. Then of course after he had heard “Hold the Line” by Toto and “Good Times, Bad Times” by Led Zeppelin, he began his pursuit for developing a fast right foot. Jeff Porcaro and John Bonham remain his top favorite drummers. However, being born on the same day as Keith Moon (August 23rd), Michael, with the Rival Sons (Earache Records), has ironically established a style of his own that echos the reckless abandonment of “Moonie” (now “Miley”). He has recorded and/or performed with Kelly Clarkson, Jay Buchanan, Joe Firstman, Bird3, Josh Kelley, Santana, Ricky Martin, Tony Lucca, Veruca Salt, Mickey Hart, and Rival Sons. He also was in the House Band for “Last Call with Carson Daly” on NBC for five years. He is currently the drummer for Rival Sons on Earache Records. They have three LP’s and one EP available on iTunes and in stores everywhere. They’re about to record their
fourth full length album in Nashville with Dave Cobb.

Michael has studied with Roy Burns, Dave Garibaldi, John Molo, Chalo Eduardo, Chuck Silverman, Chuck Flores, and Dean Cook.



RULE 2: Always Be Present

Ken Ge is a freelance bassist located in the Midwest. He's played with Michael Spiro's Latin Jazz Collective, Keith Karns' Big Band, and Curt Sydnor's group Disassembly. Ken was director of orchestras for Dorchester School District Two in Charleston, South Carolina and musical director / bandleader for Celebrity Cruises, Inc. as well as Oceania Cruises, Inc.




RULE 1: Head Above Water

Andre's message is meaningful. If you aren't a drummer, how do you apply the core of his message to your life? To me, Andre is saying that often times, we spend so much time focusing on our "how" (our process) that we completely lose sight of our "why" (our purpose).

This week, I challenge you to ask yourself these questions:

1) What is your "WHY" on this planet?
2) Is your "HOW" currently serving your "WHY"?
3) If not, what do you need to change? Have a great week and I hope you enjoy!

Andre' Boyd, a native of St. Louis, began playing the drums at two years old. Watching his brother play every Sunday morning at church fascinated him so much that he wanted to become a professional drummer. Since then Andre has been blessed to tour with numerous artists and shows from the United States to Europe and beyond.

Andre' is currently on a world tour with Cirque du Soleil's Quidam show production. He is a very gifted musician that has mastered styles and genres such as Funk, Fusion, jazz, Gospel, R&B, Country, Rock, Blues etc... He has had the pleasure of performing with The Golden Gospel Singers, Dolemite, Shirley Murdock, Vasti Jackson, The Family, Denise Thimes, Gregg Happyguitar Haynes, and many more.

Andre' is an exceptional young talented musician who is commited to playing on the best gear, while displaying great musicianship and professionalism.