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John Taylor Drums
Jazz Drummer

John Taylor

Welcome to John Taylor Drums. I grew up in Camarillo, California, about 50 miles northwest of LA. I first began drum lessons at age 8 in the 1960s, playing on a practice pad for two years and advancing to a snare drum afterwards. My parents wanted to make sure I was committed to being a drummer, so they bought me individual parts of a drum set over the next few years until I had a full set.

I credit excellent drum teachers and good instructional drum books for my early development and still dedicate myself to essentially the same practice sessions borne from those early days.

My brother is Bob Taylor, a renowned jazz and classical trumpet player, jazz clinician and jazz educator living in Newport, Oregon, has been a great influence on my life, both musically and personally. Bob is the author of Sightreading Jazz, a brilliant study of practice techniques designed to improve sight reading and enhance improvisational skills. Bob is arguably the most accomplished improvisational jazz trumpet player in the Intermountain west.

Throughout my school years I played in bands, marching bands, jazz bands and orchestras. In 1973, I then attended Brigham Young University in Provo, Utah, where I played drums for the BYU jazz ensemble, Synthesis, as well as numerous jazz ensembles and combos during my years there. I also toured parts of the U.S. with BYU performing groups.

From 2005 to 2012 I played for BRIJJ, a highly accomplished and innovative jazz quartet in Salt Lake City, Utah and I continue to perform occasionally in the Salt Lake City area.

Need me on a gig?

If you are looking for a versatile jazz drummer who can play your next gig, please give me a call at 801-376-8461 or email me at taygraphics@gmail.com.

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Drumset Specs

1974 Rogers KOA drum kit


Pearl Masters Maple Snare


Zildjian and Sabian Cymbals

Evans heads


Pearl hardware


Latin Percussion items

“Poinciana”

Influential artists

“I think that the rhythm sections, drummers in particular, are the unsuing heroes of the music. It’s the rhythm section that has changed the styles from one period to the other.”

Max Roach

 

“First of all, when I was coming up in the clubs in the ’60s, bass players didn’t have amplifiers, and pianos weren’t miked. So you were playing at a different volume level. You had to make it happen at all the levels. It couldn’t just be intense when it was burning and be lukewarm at all the other dynamic ranges. You had to make it intense all the time. Even on ballads, there’s an insistency, even though it’s not in your face. But it has the energy no matter what.

As far as how I do it, you’ve got to be focused on what you’re trying to achieve. When you concentrate on something, it automatically comes out in your playing, although it may take a little while for you to refine it.”

Joe La Barbera

 

“Technique is a means to an end. But to use it alone just to see how fast you can play so you can machine-gun everyone to death – that doesn’t make any sense.”

Joe Morello

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