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Recording with high profile producers such as Keith Olsen, David Thoener, Gary Lyons, David Prater and Auther Pason has contributed to his skills as a player and has added to his musical sensibility. Ed's musical background includes graduating from the Berklee College of Music, and years of private study with such instructors as Alan Dawson, Peter Erskine, Gary Burton, Al Miller, Joe Hunt and Kim Planfield, contribute to his playing and teaching philosophy. Ed operated E.K.G Music, a music house based in New York City. E.K.G. Music wrote music for film and T.V commercials. The following list of albums credits best represents Ed's playing:
Private Instruction Available Teaching has been a passion of Ed's for the past 20 years. Ed's students include aspiring 10 year olds to drummers who play with platinum artists, some known in the music community as "rock star status drummers". Teaching such a broad range of students calls on Ed's ability to size up a student and personalize a program for each student. Ed stresses the awareness of timing in relationship to beats and the space between them. Once you become comfortable with where these beats are you can then take full advantage of the space between the notes. It's the space between the notes that enables the player to manipulate, create and control how note's feel to us as listeners! Song structure and musical sensibility (thinking like a musician) is also a big part of Ed's teaching. Ed's ability to play bass guitar brings a unique dimension to his teaching. The lesson at times transforms into a rhythm section setting. Ed's Three-Stage Approach STAGE ONE. The student and Ed creates his or her own composition. Writing drum and bass parts that best support each other. Song structures and tempo, along with the different ways to count through the sections of their composition is studied. The song is then charted out and rehearsed. STAGE TWO. The student is asked to play the song form with the drum chart that the student and teacher wrote out and the student's song memory. The student has to create and maintain the feel. STAGE THREE. The student takes what was learned in Stages One and Two and plays to a click track. The purpose of stage three is to prepare the student for any recording he or she might be called upon to do. The ability to play along to a click track is important and this is a pure lesson in achieving that goal. Other
Topics Covered. To find out more about private instruction click on the "Instruction" link. A Personal Note I find music that inspires me most is that which is saturated with heart and soul. I look at beats and fills as words and grooves as sentences. I try to orchestrate patterns that support the story line of the song I'm playing (never forfeiting feel for a fill). It's important to be well read as a player with a strong musical vocabulary. Try to listen to as many different styles of music as possible (listening = learning). But keep in mind that just because you have an extensive musical vocabulary (chops, tricks & licks) doesn't mean you have to use them all to make you're musical point (less is more). Always remember, "It's About Time"! Some drummers that have inspired/ influenced me (keeping me in the wood shed) are; Tony Williams Steve Gadd Elvin Jones John Bonham Vinnie Colaiuta Mitch Mitchel Clyde Stubblefield Jabo Starks Jack DeJohnette Jim Keltner Bernard Purdie David Garibaldi Airto, to name a few. Thank
you for visiting my site,
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been on original music, with two projects signed to major record
deals on Geffen and RCA records. Both of these bands involved Ed
assuming most of the day to day business responsibilities along
with writing and arranging contributions. Playing to coliseum capacity
crowds before such acts as PAT BENETAR, BON JOVI, ASIA, AVERAGE
WHITE BAND, SPLIT ENZE, THE TUBES, JACK BRUCE and many others has
well defined Ed's experiences as a dynamic performer. 
