I’m a rock drummer. I’m a jazz drummer. I’m a funk drummer.

I’ve heard these sorts of statements before and it got me thinking just how important being a well-rounded musician really is these days. Particularly now in a society where getting gigs is harder and harder, how can any musician, let alone a drummer get 100% of their income from gigs playing only one style? Australian Idol and The Voice would lead you to believe that all you have to do is get a big break playing for an awesome band and you’re set. That may happen but let’s face it, rent has to be paid this month as well as trying to get famous and cruising on Prince’s private jet.

The musicians I know that are really making a living from the drums all have something in common – they can play just about anything. Let’s discuss a few of the genres I come across myself in the gigs I do – R’n’B, Rock, Jazz, Latin, Gospel, Funk, Blues, Country, Reggae, Rockabilly, Drum ‘n’ Bass, Dance, Disco – sure I’ve left some out but let’s use these as a start. If you’re looking at that list and you have no idea how to approach one of them, then perhaps there’s an area you can look at.

Basically, I like the idea of being called up to do any gig because I want to be able to make a living playing drums and that means being versatile. Artists and bandleaders like versatility because it means they can change tact and any moment and experiment. Once they see that you can adapt to any situation and have chops in all genres, the word starts spreading. Sure you may have favourites among the styles but sometimes you have to either sink or swim. Simple as that.

Now, above all there’s one other really amazing benefit for learning a variety of styles besides ‘getting work’ and that’s what I like to call a ‘cross-pollination’ of skills. What I mean by this is that by practicing one style, you’re benefiting another. For example, if you work hard on some jazz independence exercises, you’re actually setting yourself up for learning a Latin pattern more quickly or freeing up your left foot to play different Hi-Hat patterns in a funk groove when you’re on the ride cymbal. There are stacks of examples like this.

Take someone like Keith Carlock – he has clearly studied Jazz and when he belts out a crazy funk groove all that independence skill comes out in the snare and bass drums. Steve Gadd was brought up in drum corps smashing the rudiments and he is re-known for having some of the cleanest chops around when playing fills. Antonio Sanchez is mainly considered a Jazz drummer but he’s studied Rock and Latin and his left foot independence is insane not to mention he can belt out single strokes around the drums as if he were Muhammad Ali.

So I suppose my point here is you don’t have to be that guy that is pinpointed as a one-style drummer. It’s great for some things but if you want to have more gigs, be versatile, have and open mind and see what you can learn from all these other genres out there.

Oh, and have fun doing it…