Gregg Bissonette-Musical Drumming In Different Styles

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Popular drummer and teacher Gregg Bissonette teaches his highly successful approach to creating musically supportive drum parts in virtually any studio or live drumming situation
Drawing on his experience with artists from Maynard Ferguson, Don Henley, and Santana to Toto, Linda Ronstadt, and Ringo Starr, plus his own solo projects, this 4-hour, 2-DVD set defines what playing for the music really means
Includes 8 band tracks from Gregg’s 2 solo albums, in small and big band jazz, funk, Afro-Cuban, samba, blues shuffle, fusion, and rock styles

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Drawing on Greggs extensive experience with a variety of artists from Maynard Ferguson, Don Henley and Santana to Toto, Linda Ronstadt, Larry Carlton and Ringo Starr in addition to his own solo projects, this educational DVD clearly defines what the steadily used term playing for the music in reality means. During the over 4-hour, two-disc DVD set, Gregg stresses the importance of listening to and experiencing as various styles as imaginable first hand to be able to gain a full appreciation for each style. The set includes eight band tracks from Gregg’s two solo albums, including small and big band jazz, funk, Afro-Cuban, samba, blues shuffle, fusion and rock styles.
Popular drummer and teacher Gregg Bissonette teaches his highly successful approach to creating musically supportive drum parts in virtually any studio or live drumming situation
Drawing on his experience with artists from Maynard Ferguson, Don Henley, and Santana to Toto, Linda Ronstadt, and Ringo Starr, plus his own solo projects, this 4-hour, 2-DVD set defines what playing for the music in reality means
Includes 8 band tracks from Gregg’s 2 solo albums, in small and big band jazz, funk, Afro-Cuban, samba, blues shuffle, fusion, and rock styles
Gregg discusses his interpretation of the music in conjunction with the specific drum set-ups, grooves, and fills he chooses, followed by exercises and complete song performances with a topnotch band
Bonus topics include playing abnormal times and in clave, articulating in fast tempos and with a big band, the importance of being professional at gigs, an analysis of the late Tony Williams’ style and influence, and more

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