Where it all began
I was born in the final minutes of May 19, 1982, in Richmond, Virginia. Even before I was born, my mother somehow knew I was going to be a drummer. I got my first drum set for Christmas in 1983 (pictured here). I was obviously too young to understand what I was doing, much less work on my drumming, but I was already drawn to it.
I can’t take credit for that. I give my mother a great deal of credit for recognizing it and doing her part to nurture and support such a big part of who I am. But I’ve always felt that the gift itself came from beyond. In a sense, I’ve been a drummer from birth, and I’ve never taken that lightly.
I spent my early years in Richmond, including my first years of school at Bon Air Elementary. We later moved to Mineral, Virginia, where I spent the rest of my youth. When I was seven, my mother bought me a used four-piece Ludwig kit with no cymbals. I finally graduated from playing on pots, pans, bowls, cups, and tables and began learning on an actual drum set in the shed.
I spent countless hours out there playing along to the three tapes I owned: Lynyrd Skynyrd’s *Second Helping*, John Mellencamp’s *Scarecrow*, and Bruce Springsteen’s *Born in the U.S.A.* I also played along to just about anything I heard on the radio—Phil Collins, Paula Abdul, Janet Jackson, Michael Jackson, Elton John, R.E.M., and plenty more. I loved music and couldn’t get enough of it. I ate, slept, rode in the car, did homework, and played with toys with the radio on. Music was my friend then, and it still is.
Learning to listen
For Christmas in 1994, I got my first new drum set, along with a full set of cymbals. After spending so long without cymbals, figuring out how to use them took a little time. Then, in 1995, I started paying close attention to the Dave Matthews Band, just a few hours down the road in Charlottesville, Virginia.
Carter Beauford completely changed the way I thought about drumming. His polyrhythms, syncopated and broken hi-hat patterns, the way he blended so many styles, and that enormous drum kit all fascinated me. I had grown up playing rock anthems and straightforward 4/4 grooves. Suddenly, I was hearing things I couldn’t quite comprehend. Carter opened up an entirely new world, and I started digging deeper and deeper into the world of drumming. I went down the rabbit hole, and I’m still falling.
For all that enthusiasm, I was still an untrained player. I didn’t understand time signatures, music theory, or even the finer differences between musical styles and how they were played. Fortunately, a musician at my church recognized how much I loved music and saw what I was missing.
John DeGeorgio—a saxophonist, pianist, composer, and jazz lover—took me under his wing and began working with me one-on-one. He helped me understand the fundamentals I had skipped, along with song structure, arrangement, and the importance of listening to the other musicians around me. I’m sure I tested his patience now and then, but I owe him a tremendous debt of gratitude. Without John, I might have remained a purely instinctual drummer and missed some important steps in my development.
I can’t overstate the value of a solid musical foundation and good instruction. I did things backward, and it probably cost me some time. Learning the fundamentals gave me a much stronger base to build on—and it’s a lesson I’d pass along to any aspiring drummer or musician.
First bands and the working musician
Not long after studying with John and playing my first shows in front of an audience, I joined my first proper band: The P.E.A.R.L. Project. The name was no small coincidence—I was playing a Pearl Export kit at the time.
That band gave me the chance to put what I had learned into practice. I also brought along all the ideas, sounds, and licks I had been absorbing from Carter and the many other drummers I was listening to. I learned a great deal about playing with other musicians, paying attention, and finding my place in a group.
The P.E.A.R.L. Project also introduced me to another side of the music business. Our bass player, Tim Von Tye, owned the studio where we had originally recorded, and he took me under his wing. Tim was also the guitar player in Smokin Joe, the classic rock band I played in. He began teaching me about recording engineering and live sound, opening my eyes to everything that happens beyond the drum kit. His encouragement sparked an interest that stayed with me, and even after I moved away from Virginia, I kept learning and exploring those worlds. That early experience helped shape another important part of what I do today.
I also began to recognize something that would become a big part of my work: reading other musicians. The notes they played, how hard or softly they played, their body language, facial expressions, even which pedal they stepped on—all of it helped me anticipate where the music was going. That instinct, developed through years of listening and playing, is a big part of how I work as an independent musician today. It’s what allows me to step into fill-in gigs and last-minute situations, sometimes without a rehearsal. I think of it as another gift—not something I designed, but something I’ve worked to cultivate.
In 1999, I began playing in multiple bands, including Smokin Joe, a classic-rock cover band. By 2000, I had recorded music with both bands and had also started playing at churches from time to time. I was beginning to find my footing as a hired gun.
In 2001, I joined a gospel quartet called Soldiers For Christ, which helped further establish me as an independent drummer. Around the same time, I left the classic-rock group and joined Alias, a corporate and dance cover band with my friend Scott Shirk. There were plenty of lessons along the way—including my first snare-drum hardware failure, which taught me not to over-crank the tension rods. That little episode led me from my Pearl 14-by-5.5-inch steel snare to a Mapex 13-by-6.5-inch Pro Steel.
The gear side of the equation
Once I was working full time and playing regularly with The P.E.A.R.L. Project, I got seriously interested in gear. I started buying just about anything I could think of. By then, I was listening closely to drummers like Carter Beauford, Neil Peart, Chad Sexton, Stewart Copeland, Vinnie Colaiuta, Jimmy Chamberlin, and plenty of others.
My kit kept growing: splashes, bells, a China cymbal, smaller toms, roto toms, blocks, cowbells, chimes—you name it. More options! I was obsessed for a while. I still love interesting gear and having choices, but these days I’m more focused on putting together the right setup for the job. Think Batman preparing for a particular mission in the Batcave. I blame that approach on Josh Freese, one of the players who has influenced how I think about the independent, for-hire musician’s role.
A Mapex snare drum made me a believer in the company, so I started reading up on Mapex and trying out gear at the local Mars Music. Before long, I sold my Pearl Export kit and bought a brand-new Mapex Pro M kit in transparent cherry red. I even picked up a set of Toca mini-timbales to hold me over while I waited for a special-order eight-inch tom to arrive.
I also moved from primarily playing Sabian cymbals to Zildjian. There was a new rack, TreeWorks chimes, and plenty of other additions. I did stick with a couple of trusted pieces: my Pearl Eliminator double pedals and Pearl ICON rack, both of which have remained part of my setup over the years.
Since then, it’s been a whirlwind of day jobs, weekend gigs, successes, failures, gear changes, and—most importantly—more music.
Still playing, still learning
Over the years, I’ve had the opportunity to play with a wide variety of bands and musicians. Music remains my passion, the constant thread running through my life, and the work I’ve chosen to devote my time to. Every band, every room, and every musical situation brings something different. That variety keeps me listening, adapting, and learning.
Drumming is at the center of it, but I’ve never been a one-dimensional person. I also enjoy martial arts, movies, filmmaking, acting, writing, philosophy, art, photography, and good conversation. Sound reinforcement is another important part of my work, and I still enjoy dabbling in web design and project-studio/session recording. There are plenty of other interests, too.
If you’ve made it this far, thanks for reading this novel! If there’s something else you’d like to know, feel free to send me a message or an email.
— Chris