A Quote by Ricky Reed

I studied the Ghanaian drums and bongo drumming. — © Ricky Reed
I studied the Ghanaian drums and bongo drumming.
I have no idea what a high school party looks like. I was just with my friend, and we were walking down Venice and there was this gathering of people playing Bongo drums, and so after dinner we sat down with them and played Bongo drums for a while. That's the closest thing I've gotten to a high school experience, meeting strangers and just hanging out with them.
I play drums and guitar. My best instrument is definitely drums, so I'm featured a lot on the album drumming. It's pretty futuristic as well.
It is odd, but on the infrequent occasions when I have been called upon in a formal place to play the bongo drums, the introducer never seems to find it necessary to mention that I also do theoretical physics.
I've decided with the full agreement of my wife Sylvia Bongo Ondimba and my children that my share of the inheritance will be shared with all Gabonese youth because in my eyes, we are all heirs of Omar Bongo Ondimba.
There's the drums, the music, the melodies, the lyrics, the production, the artwork: there are so many elements to making an album, and the drumming is just a very small fraction of what I focus on.
Traveling, I've met Ghanaian people who have seen me in minor stuff, but they see the name Ato Essandoh, and they recognize it as a Ghanaian name. They come up to me and are always so excited. You don't think about it, but they really absorb American culture.
My mum was born and raised in Ghana and has a lot of Ghanaian values and traditions and morals. All that rubbed off on me, and that's why I have a lot of love and good energy in me - that universal energy is a Ghanaian thing.
There was always a guitar hanging around the house when I was a kid. It was a much lower impact instrument than me playing the drums, which is what I really wanted to do. My mother put a stop to the drumming.
I thought of Gene Krupa's drumming, his staccato drumming. I went and put 'Misirlou' to that rhythm.
I remember growing up and seeing Vanessa Hudgens' Bongo campaign in magazines. I think I probably put a few of her posters on my wall, to be honest. I wore Bongo growing up, as did my older sister - I would get her hand-me-downs as well as my own new pieces when I went shopping.
The drumming helps a lot when I'm producing songs or writing songs. My knowledge of drums helps more in that aspect, (although) I don't know, man; I'm not great at any of them.
Pop managers are fixed in the dramatic stock character repertoire too, ever since the first British pop film musical, Wolf Mankowitz's 'Expresso Bongo' of 1959, with Cliff Richard as Bongo Herbert and Laurence Harvey as his manager. The key components were cast as X parts gay, X parts Jewish and triple X opportunistic.
At the time I learned drums, I wanted to be the drummer of Hanson. I wanted to be this guy because he was so young, and he was already drumming in the band, you know, so I just wanted to be like him. And later, I discovered hip-hop music at boarding school.
All I ever wanted to do was play the drums; I felt good about myself when I played the drums. So I worked anywhere and everywhere I could lug my drums in.
It's certainly no coincidence that big bands became the entertainment of the army in WWI and WWII, and that jazz drumming style is very military influenced. The snare drum comes from the military and becomes the core kind of sound of jazz drums.
I never studied anything, really. I didn't study the drums. I joined bands and made all the mistakes onstage.
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