Episode 25 – Music By Design – Jimbo Talbot on his Drum Quest

There is so much music out there, and so many people with different preferences.

But have you ever wondered why it is that you like some music and not others?

Have you ever pondered the possibility that your unique energetic blueprint might have some influence over that big why?

And how are these artists creating their music and lyrics?

Is there some secret formula that anyone can follow, or is there more of a soul-led endeavor at play?

On the Music By Design Podcast, we are doing the research and finding out through deep interviews with both lovers and creators of music, to find out exactly why it is that we love the music that we do, and how the way it’s created can impact who’s going to like their music.

So come dive in with us, start cleaning your house, go on that long road trip, because these are long episodes.

Hey there, everybody.

Welcome back to Music By Design.

I’m your host, Anna, with Intention.

So wonderful to have you here, as always.

If you’re new, welcome to this show.

If you’re a seasoned listener, welcome back.

So great to have you here, as always.

I would love to try to remember to say all the things I never remember to say this episode at the beginning.

So first of all, there is a Patreon page for this show.

If you want to see any of the charts that we discuss as far as the folks that I interview and some of the artists that we talk about, I usually post those at the Patreon page.

It’s Patreon, patreon.com/music by design.

Huge thank you to the patrons I’ve had that have been with me almost all year, most of the year.

I’m so stoked that y’all are there and just supporting.

It’s if you want to become a Patreon supporting member, it’s just $2 a month.

And it means the world to me.

It means the world to me.

I’m just just thrilled that I have any at all.

Y’all are just wonderful.

So the more the merrier.

And I also wanted to say huge, incredible thank you to everyone that purchased a report during my Thanksgiving sale.

It was my first time ever doing a sale like that.

This was my first holiday season with the new software that I have and being able to generate these instant downloadable reports for you.

And yeah, it just means the world to me that some of you saw the value in it and took the leap.

And please let me know how all the information resonated.

If you’re like wondering what the heck is she talking about, you can go to my website, annawithintention.love slash shop.

And in my shop right now, I have about five or six different reports to choose from that you can purchase.

Some of them are only $11, others go up to 35, and even I think my highest paid report is $77.

And they’re different ones.

So there’s a business one, there’s a health one, there’s a relationships one, there’s two different quantum human design reports.

I think there might be one other one on there, but they all kind of have a little bit different flavor.

So depending on what you’re looking for, if you’re looking for a basic kind of human design reading rundown, the quantum human design 60-page detailed report is the one you want.

I believe I have that one for $77.

And it comes with a discount off of a live call with me to do a follow-up.

So that’s really the best way, I think, to get the ground level information in the PDF report, and then you can do a follow-up reading with me where we can dive even deeper.

I can clarify any info or any questions you might have and bring in some real tangible tips and things you can put into practice right away to start to experiment with your design.

So this really is like, it’s just such a game changer in the way I’m able to deliver the information, as well as provide the profound transformational impact with how to use the information.

It’s hard to put that in a written report.

It’s only something that really I can convey in conversation with you, with you asking questions and things like that.

So highly recommend.

And some of those may be on sale again for Christmas.

So if you want to know what the next sale is going to be about, you got to be on my email list.

And right now, I have a free Christmas mini report available for you to kind of like get a taste of how you can apply the information in a fun way.

And they’re all Christmas themed.

And it kind of just gives you some little little pieces just based on your type.

And it’s a fun little report.

I already have had a couple of people get theirs and they love it and think it’s great.

So if you want to get your free Christmas report and get on the email list to find out when the next sale is going to be, check the show notes.

The link is there.

Next up, I wanted to let you all know I am deep in contemplation over how I’m going to approach Season 2.

I already intend on interviewing creators, songwriters, musicians exclusively this time around.

And think of different ways I might format the month.

I might try to put out weekly episodes where there’s like a long interview at the beginning of the month and then three shorter episodes breaking down some of the human design pieces of their chart.

It’s one thought I had.

I had another thought about maybe doing, continuing to do bi-weekly interviews and then doing bi-weekly like energy report style episodes where I’m kind of just updating on the transits and what’s going on out there in the celestial weather through the human design lens.

So if you have an opinion or thought on either of those approaches, let me know which you prefer.

And if you have a suggestion of a local or like regional artist that you would like to hear me interview in the style that these last couple of interviews I’ve put out have been interviewing creators.

If you have a suggestion for me, by all means, please send me a DM on Instagram at AnnaWithIntention.

I tend to give preference to female artists and creators, but I will be interviewing some male creators and artists next season as well.

They do make up a big portion of the industry, especially when it comes to local folks.

But if you have a female artist that you are just absolutely love, whether they are solo or like a front woman on a band, as long as they kind of predominantly write a lot of the lyrics or the music, let me know.

Let me know who would you want to hear on the pod?

Last of these kind of what we call housekeeping announcements, my band Virgil’s Lantern, which is my husband and I, and I believe our friend Josh is going to be sitting in on percussion with us, on Saturday from 7 to 10 at McCarthy’s Pub in Casanovia.

Super exciting.

If you want to see us, we’re going to be kind of playing in tandem with our friends from the band Honey Trail, which is our friend Brandon, Lyons, and Brigene.

And we have done this, I think this is our third or fourth year in a row, where we have done this show in December.

Brandon lives out west right now, and he comes back for the holidays and does a couple shows around.

And we were just hanging out, jamming out with them last night and looking forward to this gig.

We don’t gig a ton anymore these days.

Every now and then we are looking for some more for the summer.

But it’s always special when we get to play a show.

It’s in my hometown with a dear, dear friend.

And it’s just one of my favorites.

So if you are looking for something to do and you are not afraid to drive to Caz or you live near Caz, come on down to McCarthy’s tomorrow night.

Super exciting.

There is a Facebook page for that.

And that is in the show notes as well.

OK, so this episode, I know I say this every time.

This is such a good episode.

My goodness.

I have some incredibly talented and well-spoken, self-aware, thoughtful musical friends.

It just blows my mind sometimes how lucky I am to know some of these people.

So in this episode, I’m interviewing my dear soul brother friend, Jimbo Talbot.

Jimbo and I met, we didn’t talk about this in the episode, but he and I met at a gathering little like workshop, a little musical workshop.

It was being run by a woman named Mary Knish, and she is with a program called Music For People.

You can check them out at musicforpeople.org.

And I went to one of her little workshop thingies where it was primarily a lot of percussion and drumming, but there were other instruments too.

And I got there kind of late, and the room was already pretty full, and Jimbo was there and I’d never met him before.

And he was like, he saw me and he said, oh, hey, there’s a seat right here.

And he kind of made a little room and I sat in the chair next to him.

And I brought my drum over and it was like we already knew each other.

It just, his energy is so welcoming and friendly and unassuming.

And just he can make you feel like just like just wonderful.

I don’t even have words.

He’s great.

So I know you’re going to love this episode with him.

There are tons of links in the show notes for upcoming events.

He has like four events coming up in the rest of December and into January.

Some of them are around, I think, like there’s one in Oneida, one in Oneonta, one in one or two in Morris, New York.

So they’re around.

I didn’t see any specifically right in Syracuse, but but he’s around the area.

So if you’re in any of those areas and want to connect with him, I highly recommend going to one of his events.

And I hope you all are surviving this recent round of Mercury Retrograde.

Personally, I haven’t felt like it was too intense.

I do find myself like talking about the themes often, more than anything.

And I think that’s a big part of Mercury Retrograde, is that we’re going to be talking about these things.

So right now, Mercury is in Gate 9.

It’s almost it’s almost going to go.

And then it’s going to go direct in Gate 9.

And Gate 9 is all about focus, focusing on specific details, not getting overwhelmed by them and knowing what details are important ones to focus on.

So talking about those things.

And we have a full moon coming up in two days in the Gate of Social Grace and Caution.

And the sun is going to be moving into Gate 11, the Gate of Ideas.

Write those ideas down.

Write them down.

Just write them down in a note in your phone.

Send them to yourself in an email, whatever it takes, and then come back to them later and use your strategy and authority to decide which of those ideas are meant for you to bring into creation and which ones are meant for you to send back out into the universe.

Once again, as always, I’m so thankful that you are here.

Thank you for being with me and supporting in whatever little ways you do.

As always, I would love it if you could rate and review the podcast.

Just hit five stars, whatever platform you’re on, and just shoot me a message.

At Anna with intention, with your suggestions and feedback, I’d love to hear it.

So thank you so much and enjoy this episode.

I can’t talk about anything good.

I always do that, I forget to hit record, and I’m like, wait, we should record it all then.

Oh, okay.

Keep going, keep going.

Hi, everyone.

So yeah, we’re talking about vibrational fields and what’s happening with expression in the highest form of vibration.

And we were just in New York City over the weekend, and we went to walk along the High Line, and we were near the Whitney Museum, and we noticed there’s this little series of pods, concrete pods, that look like mushroom caps almost.

But it’s an island, and on top of these mushroom caps, concrete mushroom caps are hills and mounds and cliffs and full-sized forests and trees and grass.

And it’s a whole park, and you walk out on this ramp and you get out there, and suddenly you feel like you’re in this different world.

You’re above the water, you’re over the water, but you’re at water’s edge.

I mean, you’re on the water and it just feels so futuristic.

And it feels like the vibrational energy of that place, people were so happy.

And there were only like 8,000 inhabitants that afternoon on this little island that probably measures maybe two city blocks, but it was really cool.

And I just feel like some of the things that we got to see in New York is, for me, was validation that we are evolving, that we are seeing a lot of new things that are represented visually and musically in the world that are coming into design.

And I just was fascinated.

The music and the pictures on the elevator going up to the top of the One World Observatory traces the history from New Amsterdam around 1600 all the way to present tense.

And it’s so futuristic when you get there.

And it’s just like, it feels normal.

And it’s something we could never envision, you know, like, for me, it was always, I had to climb the mountain to get there.

Now I just take the elevator and 47 seconds later at 37 miles per hour, it’s like futuristic.

Here I am and I can see the whole world.

So anyway, that’s a little side story.

Cool.

We’re here for all the side stories here on Music By Design.

Well, welcome everyone to this really special episode of Music By Design.

I have with me my dear friend Jimbo Talbot.

Jimbo, ask me why, Talbot.

Well, he’s the proprietor of what’s called Drum Quest, where he brings therapeutic drumming and drumming instruction and drum circles and drum parties to all kinds of people all over the country and the world.

Are you international?

A little bit.

A little bit?

Definitely all over the country.

He travels a lot for the work that he does.

And just a quick little shout out to his human design.

He’s a 3-5 Sacral Generator.

And yeah, Jimbo, would you just tell us a little bit more about the work you do, as well as what’s your favorite color?

And did you have any songs stuck in your head today?

So you were popping around doing your thing.

You know, it’s interesting.

I’m going to go right to songs because I normally don’t like country music.

And I was driving around a lot today.

And suddenly, it was a high school rock station from Baldwin’sville.

I don’t know if you know it, The Buzz, 90.5.

And they were playing all these country songs.

But it was all the new things.

And what struck me was the rhythms were almost like R&B and rap.

But the lyrics and the story lines were still country, but it’s just more updated.

And it was just so I don’t have any one particular, but I guess Luke Bryan was like pretty prolific with that stuff.

And I was just like, and I think that’s what fascinates me about music.

And really, it leads me right to tell you a little bit about myself.

And that is it’s just been a long musical journey that continually evolves.

And it evolves mostly in terms of who I come into contact with.

For many years, I didn’t consider myself a musician, someone who studied and someone who got a degree in voice and actually attempted to sing opera for a while, someone who’s actually put it out there, but realized that wasn’t the calling.

The calling was to find out as much as I could about humans by their design.

But how I did it was to find out about them in terms of how they move through the world, how their vibrations worked, how their rhythms worked.

And so that’s what led me on this journey to learn about drumming.

About 30 years ago, I was doing some experiential education work.

And it was one of my first sessions with 90 5th graders getting off a bus, three buses after like five hours on a ride from Miami to Tampa.

And you can just imagine 90 5th graders after four or five hours on a bus.

And they’re running and screaming and jumping and crazy shrieking.

And then this associate of mine had an African djembe.

And he just started playing this one rhythm, a Nyabingi beat.

And suddenly everybody was in this circle and clapping.

And oh my God, I saw how suddenly there was organization.

We all had a common purpose.

We all had a common song.

And everybody could still express themselves, but in a way that made sense to everybody.

And so ever since then, it’s kind of been my quest, Ergo Drum Quest, to find everyone’s happy and healthy, one beat at a time, one rhythmic adventure at a time.

And so that’s how it all got started.

Just wanting to know how could I most easily connect with large groups of people or communities of people, not always large groups, and to find out why they were there, what is their purpose, what are they here to, what do they value, what do they want to gain from an experience, and how can I best connect with them?

And I found that rhythm was the easiest way to do that, and the most consistently satisfactory way.

Because whereas most of the time I’d learned through classical education, you study, you learn, you read, you hear lectures, you learn by rote, you practice and practice and practice.

This was more spontaneous.

This was more something that just came from within.

And that’s been why ever since then, it’s been my study like, what is it that makes it that way?

What is it that’s inherent in each of us that makes us musical geniuses, that makes us able to connect so easily through rhythm?

So Jimbo, ask me why.

Because I was Jim for several years with this company and then something shifted one season and these school kids, one school at a time from all different communities, Tallahassee, Miami, Orlando, Jacksonville, they would all start calling me Jimbo.

And I’m like, why are you calling me Jimbo?

And they say, well, isn’t that your name?

And I said, no.

And then I began to listen again and again, they kept saying it and I said, you know, there’s a vibration to that, there’s a rhythm to that.

I think I’m changing.

I think I should listen to children.

I think we all should listen to our children.

I think they actually are very wise and insightful.

And so I started trying it on for size and it took a while to catch on.

But then now I can’t imagine my life otherwise.

So that’s why it’s Jimbo.

Nice.

I love that.

I love that.

I received my long-term moniker is similar way.

I was doing trail cruise with teenage kids in the woods in Oregon.

No, Colorado.

Colorado was the one.

And we were with the same group of kids for, gosh, four or five weeks in the back country in Colorado.

And I had a male co-leader because it was a mixed group.

We had a couple of girls, a couple of guys.

And my last name started with a G and his last name started with a G.

So they called him Papa G and they called me Mama G.

And then the following summer, I did a different trail crew in Oregon in a totally different spot, totally different kids.

They did the same thing.

They called me Mama G and it just started to stick.

And then when I started performing, I took that as my stage name, Mama G, and it had a nice little ring to it.

That’s the story.

Cool.

Yeah.

It’s a good story.

Yeah.

So yours is too.

Yours is great.

Gosh, I have so many questions.

I have so many questions and thoughts.

And I love that, you know, I think we both, I get excited every time I get to talk to you.

And I also like, I have to go back and ask you, re-ask you things or can you remember we do this and you’ll say, can you write that down or you tell me that again, because there’s so much that comes out when we, whenever we do get to connect like this.

So I’m going to take a breath and wait for your next question.

Well, I just want to come back with something, from something that you had said towards the end there about why rhythm, right?

And you’re the first drum person for me to interview on this podcast.

There’s been quite a few people that are rhythm folks that just, when I asked them, which do you prefer, rhythm or lyrics?

Some people have chosen rhythm who I’ve interviewed, and they’re very much the dancers.

They’re the people that go to go to see live music because they want to dance and release and pound the earth.

And they’re not, they’re not as interested in what the song means lyrically.

Or if there, if there are words there, they tend to be words that don’t really have a whole lot of, they’re not telling a story, they’re not conveying some sort of emotional message.

They’re just like, you know, a phrase that’s repeated over and over again and gets you into that kind of trance mode.

But you’re the first actual person who’s like a drummer.

And something I’ve, I had read when researching kind of like, not this podcast is more like, why do we like the music that we do?

Or what are the aspects of music that draw us to it specifically, as individuals?

But in researching this, you know, and I research why do humans make music, period?

You know, like why, you know, what research has been done on this already?

And some anthropologists have done a lot of research.

And one of the things that has been theorized about rhythm is that the reason we have it is because we’re bipedal.

Because we walk on two feet.

When you walk on two feet, you have a very distinct left, right, left, right, left, right, left, right.

And so it’s kind of links us all the way back to the first, first one of us that ever stood upright and started walking.

And that that that’s kind of that demarcation line between, you know, an ape or a gorilla or even an elephant or a giraffe or a horse.

Like, they have a rhythm, but it’s not the same.

That’s that real easy one, two, one, two, one, two, that we got.

Sometimes the animals actually have, they have compound rhythms.

You know, they have complex rhythms.

Horses, for instance, but yeah, right.

They can do that.

They can do that clip club, but they can do it clip it, clap clippity clap or the gallop, you know, so they can actually do many different rhythms.

Humans can do two, but you’re right.

It’s not kind of our natural thing.

I think we were designed with two feet, two arms, two legs, two eyes, two ears because we have this higher brain function that allows us to, I believe, overthink things.

We can go so deeply into the mental aspect of things that we need those rhythmic structures because that’s what rhythm does.

It organizes our existence.

It organizes our doings, our experiences over time.

So that’s what we would call meter.

It’s the rhythm over time based on in a music, it would be by measures.

And so a simple rhythm is divisible by two.

So that’s the bipedal.

So anything divisible by two is a simple rhythm.

Anything divisible by three is a compound rhythm or compound meter.

And so I think that our brain functions tend to be higher functioning.

The fact that we can make choices, the fact that we can respond to emotional components, and although we are now realizing that even plants and animals can do so, humans seem to have a more elevated level of that.

So I think we needed to have a more simple way of rhythmically moving through the world.

Whereas other species on the planet needed other ways to express themselves and connect through complex songs.

And I think about bird calls and a lot of different attraction calls in the world, in the natural world.

And they’re often very complex and many different calls.

So anyway, that’s my theory.

That kind of goes along with what you were just citing from the archaeological perspective or anthropological perspective.

But anyway, that’s pretty cool.

Yeah.

Yeah, there’s also there’s also other things like around the ability to recognize and appreciate something as being musical in the first place.

So to say that a bird’s call is music is more dependent upon what creature is hearing it because the bird’s call is serving a very like survival based function, right?

Like it’s calling because it’s sending out a warning or it’s looking for its mate or it’s calling to its babies.

It has a very, very clear function that is beyond aesthetic.

It’s not just because they’re not making the sound because it sounds pretty, they’re making it because there’s a point to it in their world.

I don’t know if it’s anthropologists or if it’s just biologists that are studying this, but they’re finding that the more advanced or the more developed a animal’s vocal cords are, their ability to vocalize is reciprocated in their ability to recognize musicality.

So like a monkey is actually less able to recognize musicality than a parrot, because a parrot’s vocal capability is much more developed than a monkey’s, you know, as your standard run-of-the-mill monkey.

Even though they’re more closely related to us, genetically, there’s that difference there.

Yeah, that makes sense.

Yeah, I have a dear friend who’s a wonderful singer, and she has like, oh, two or three dozen, somewhere between two and three dozen parrots in her house.

And it’s the most raucous musical house I ever walked into.

But it’s like they all communicate with each other.

And when you’re there for a while, you do pick up this patterning that takes place, and they’re all communicating with one another and with you.

And I’m not so familiar with monkeys, but I’m more familiar with dogs.

And dogs, they tend to have a more simple vocabulary and a more simple way of expressing.

In my world, that can be extremely expressive.

It’s not to say that they’re lacking in it, but it’s just the variety of expressions, for me at least, seems much less than the birds in that way.

Anyway, that’s just my experience.

Yeah.

Well, it was like, I think this piece with, I think it was actually like a cockatoo or a cockatiel, but there’s this famous cockatoo on YouTube that like bobs with the rhythm of the music that’s playing in the background of the video.

It just went viral one time and they were talking about this cockatoo, and they were saying it’s because it could say words, it could sing songs, it could mimic things, and that capability is what allows for the sensation of the rhythm.

Whereas, I’ve never really seen a dog really bopping its head perfectly in rhythm to music.

Usually, dogs just lay down whenever we’re playing music, they just lay down and just, you know, chill with it.

Yeah, this is fascinating.

So, where do we go from there?

Tell me, I want to hear more about your background.

So, can you remind me when that first experience where you experienced this person playing drums and bringing everybody back into the harmony?

How long, about how long ago was that?

Or where were you at in life when that kind of happened?

Just a couple, yeah, sure.

I think, yeah, it’s easy to do.

And I want to backtrack just a little bit even further because I was thinking about, you know, where did rhythm come in?

Because I was raised and born into a very musical family, mostly singers, keyboard players, piano players, and my dad was a pretty prolific trumpet player.

And so the interesting thing was I love to sing and I love to make music with them.

And we would do that.

But the most profound experiences I had as a kid were when we had summers, we had a camp on a lake and we would have campfires on the beach and it was a stone beach.

And so we didn’t have instruments at the lake.

So we would sing songs, but we needed a soundtrack.

So I would find sticks and I’d start drumming on rocks intuitively.

And next thing you know, we’re all having our own little drum circle, like very primitively with sticks on rocks and things.

And that always stuck with me to the point that even though I studied voice and I also took lessons in trumpet for a while and played in the band and for a while in school, I was more fascinated with the rhythm so that at my first marching band concert, I walked up to a kid who had a snare drum and I just said, here, you take my trumpet, I’m taking your drum.

I didn’t practice any of it, but I just felt so in sync with that.

Of course, the band director wasn’t too pleased, when halfway down through the parade, he notices that I’m drumming and this other kid doesn’t know what to do with the trumpet.

But it just stuck with me.

Then my dad would always, we would do a lot of Sunday afternoon drives when I was little with my grandparents, as some people would do in those days.

He would be tapping a lot on the steering wheel or he would tap on the window ledge or on the dash.

But it was always like a consistent rhythmic tap and I don’t know, it just sort of made things very like, again, I felt grounded, I felt organized, so it’s always been there.

Then because I was gifted and blessed, I guess, with a big voice and the ability to sing a pretty wide range, I could sing bass, baritone, tenor for a long time.

So when I went to study voice in college, it was always that, but it was again, that was just the rhythms of everything that really struck me.

I finally, after trying to be a singer, realizing I can’t, I went to work in Outdoor Education and that’s where it led me to this place in Florida where I encountered this man in 2002.

So we’re looking at about 23 years, I guess, 22, 23 years.

And it was in that moment when everybody came together.

Nobody had to figure out your part.

You didn’t have to study it.

It was just so powerful.

My heart exploded.

Yet, it didn’t feel overwhelmed.

It felt like I could just go with it.

And my body went with it.

You know, my feet went with it.

My brain went with it.

My breathing went with it.

Everything just seemed normal.

And everybody was just so happy.

And I’d never had that kind of an experience before like that.

So I spent the next few years working with that guy.

We bought, we got some more drums and we developed a little bit of a curriculum with his company.

And we called it Drums as Language and we didn’t know what we were doing.

And we basically, we knew a few rhythms.

And then we just let the kids kind of teach us through a series of games and activities, how to find their rhythms and how to listen for rhythms and how to recognize themselves.

And that was kind of the early idea of having a drum circle.

Before I even really had been to real drum circles, like they would have on the beach in Florida, where you would have two or three hundred people at Siesta Key on a Sunday afternoon.

Which is pretty crazy, by the way, when you’ve got two or three hundred people drumming on the beach.

And so I did that for several years until I realized like, this is calling too powerfully.

I can’t do anything else but this.

So I had some money and I went and bought two dozen djembe’s and I announced I was leaving and I started Drum Quest and spent six months in my living room of my house, not knowing what to do with it.

But I had this idea and I had to figure out where to go.

And a friend of mine said, he just went through the Yellow Pages and he was a drum circle guy.

And he said, I just went to every Assisted Living and Senior Living Community Center that were looking for something.

And he filled his calendar in no time at all.

So I did the similar thing.

And all of a sudden, here I am with all these people.

But I knew some rhythms, but they couldn’t do the rhythms that I knew, like they couldn’t do the African rhythms that I had learned.

And so I had to learn how to do rhythms for things that they knew.

And that was my first big lesson in, you know what, it’s about the rhythms of the people that you serve, because they want to serve you in a drum circle, but you have to put it in terms of the language that they understand.

So anyway, that’s how I kind of got on the track of doing that.

And then I’ve just been evolving with that over the last 20 plus years, you know, in a lot of different ways.

So what were you doing before that?

Like what was it that the drumming pulled you away from?

I was doing experiential education.

We were teaching community building, team building.

We would do canoeing, map and compass, Florida history, Florida biology.

So still pretty, pretty cool stuff.

Pretty cool, experiential, yeah.

Yeah, I’ve always known that I was a much better experiential learner.

One thing I haven’t touched on is that even though it wasn’t labeled, I knew that I had some kind of learning disability because I’ve always had some auditory processing difficulties, which is why I really struggled to memorize song lyrics.

Is it any wonder that I would want to do non-verbal or lyric-oriented music as opposed to just things I could feel and express without worrying about the words?

Because they got in the way for me.

I didn’t have dyslexia, but it was just I couldn’t process sounds I was hearing to understand what the words always meant.

I had a very expanded vocabulary and I could learn them, but I could never get the words right and in the right order.

There’s another reason, I guess, that you could say I was naturally inclined to go to that direction.

Yeah.

Well, here, I’d like to pull your human design into the conversation here for a minute.

I misspoke earlier, I thought you were a manifesting generator, but you are a just not just, but you are a generator in traditional human design terms, in quantum human design terms, your type is called the alchemist, which is really cool.

That resonates.

Yeah.

What does alchemy mean to you?

How would you describe what alchemy is?

Sure.

Alchemy is the magic that takes place when you attend to the environment, the things that create safe space and creates the optimal condition for that magic to take place.

I’ve often been told that I create alchemy.

I’m an alchemist for rhythmic transformation with groups.

For instance, people that have never drummed or didn’t know they could drum, I’m able to make them feel at ease.

I’m able to present things in a way and set up the environment and make things such that it’s really easy for them.

They have no idea how they get from point A to point B at the end of the experience.

When I say transformation, they go from thinking they have no rhythm to they’re playing complex rhythms.

They’re all playing different parts.

They become like an orchestra.

They’re orchestrated and it’s not so much that I’m conducting them, but they are self-conducted once I’ve helped share some of the tools to do that.

That’s beautiful.

In your chart, you have three defined channels and typically, we look at our fully defined channels to give us an idea of the flavor of the curriculum we’re here to convey to the world through our unique expression, our unique flavor of what that curriculum might look like.

Two of the three channels you have are what we call tribal channels.

It’s this one, the 4426, which is all about the will to transmute pain into something worthy of transmitting to the collective.

Then the channel 5027, which is all about providing, we call this the mama bear energy channel.

It’s like nourishment.

It’s really just taking care of people and what you’re just describing about the way you just take care of the people that even if they’ve never done it before, at the end of it, they just feel super at ease and comfortable there.

Then you have the gate five here defined in your sacral.

Gate five is the one that I always look at first when I’m talking to someone about whether they prefer rhythm over lyrics.

If they prefer rhythm, 99 percent of the time, they’re going to have this gate five defined, and gate five is called the gate of rhythm.

For you, it’s your unconscious Saturn energy.

The unconscious side is basically like the body, the physical body, whereas the conscious side is like the mind.

Rhythm is coming in the Saturn placement, which is where we get structure and our sense of time.

Of course, rhythm and time are beautifully supported in this position to help you, not just create structure for yourself, but also show people how to create a sense of structure using that rhythm.

It’s really cool just listening to you talk, I’m seeing all these different pieces intertwining.

I wanted to ask you, you have a prominent theme here.

You have Gate 28 repeats in your chart a number of times, and Gate 28 is also your third full channel, which is an individual channel.

The Gate of Struggle.

It’s like everything has this polarity of low expression, high expression in each archetype, and the low expression of this energy is struggle, or really, it’s purposelessness.

It’s like that lower expression, but of course, the highest expression is being able to trust and know that everything has purpose, and even if you can’t see it right now, it will unfold and it will reveal itself.

What role has this idea, this theme of struggle played for you?

Because it sounds like everyone struggles, but it also sounds like you got off to a good foot.

You had supportive musical parents and family, and you were in a lot of these situations where you’re in the right place at the right time and got these cool little initiations.

I would love to just hear a little bit more from your perspective.

You talk about Pandora’s Box.

I’ve known for some time that later life for me, I would really blossom because I knew I just, I lacked confidence growing up.

I didn’t have a sense of where I belonged because I was having some difficulties understanding things because I couldn’t figure out how to move forward and didn’t know what I was supposed to do.

It did create a lot of uncertainty and indecisiveness, and at some point, I began to internalize that emotionally.

I think the things that I obviously was gifted with, some talents and blessed with skills, and I did have lots of good nurturing and support, yet it didn’t connect for me and I couldn’t make sense of it all.

So I started to internalize it and I had a lot of depression in my 20s and early 30s, trying to figure things out.

And yet, through it all, and I think really in a big way, discovering how I am a rhythmist in life, how that becomes part of me, it really saved me.

It really did.

It gave me a sense of purpose because I come from a unique perspective.

I can speak to a lot of people’s insecurities and a lot of people’s self-doubts and a lot of people’s things and like, oh, yeah, I specialize in that.

I know how we can rise above that and become our best expression.

Every time we would drum together, every time we make music together, I mean, I’m sure when you jam or when you get together with people, you know how it makes everybody feel so good.

You’re just elevated, you’re a higher expression of yourself.

But rhythm was the easiest way to access that.

It also, the unique thing about drumming and rhythm, is that it connects us at the root, meaning our heart, our heartbeats.

So when our hearts are synced up with rhythm, and that’s a biological thing that takes place, our hearts naturally open to one another.

They release, we release all these happy chemicals, right, in the brain, dopamine, oxytocin.

So feel good chemicals get released, our stress response goes down, the vagus nerve is stimulated, there’s all these physiological things that take place, and we just get grounded and relaxed, and we breathe more easily, and we realize we’re more connected, and we realize we’re just the same underneath it all like anyone else.

So it was what really did save me in my life personally, and then gave me real purpose because I realized there’s so many people in the world that are needing this.

Because I think underneath it all what I’ve learned is that we’re all struggling, we’re all kind of trying to make it, we’re all trying to figure out how to get through everything that we’re having to do with all the time.

And yet, when we can find something that consistently works for everyone, you know, why do you need to go beyond that?

And one of my best learnings was a couple of summers ago, I actually got to spend five weeks with medical residents in a hospital, teaching them to drum for their own health and their patients’ health.

And they all pledged at the end of the five weeks that they would start prescribing drumming for their patients instead of referring them immediately to psychiatry or counseling or prescribe them with, you know, medication.

They said, no, let’s try group drumming because it has great success with bringing us together.

So, in the last 10 years, my focus has been all about health and wellness and group and personal expression as a community.

And that together we express that.

So, I’ve worked with doctors.

I’ve worked with New York State Traumatic Brain Injury Association.

I present at their state conferences.

I’m starting to bring this into the corporate world, into the corporate boardrooms and to companies because corporations being the tribes of our times are discovering how important it is to recognize that we all have needs.

And if you can find a medium or an activity that, you know, acknowledges our individuality and our personality and yet does something that we can do fun together and makes us all feel valued together.

And nothing does this, in my experience, like drumming does it.

So it’s totally given me a purpose and direction, even at times when I had self doubts about my ability to deliver the message or to find and connect with individuals and to be frankly thriving at it.

You know, how do I support myself?

How do I sustain this?

You know, the typical musician angst, like how am I going to support myself?

How can I actually do this and make a living off of this?

You know, I can I imagine much in the same way you can talk about your experience with what you’re doing now and how this is giving you more direction and more self-knowledge and how a way you can experience and express and connect with people with music in a much more profound and yet something that’s self-sustaining in a way.

You know, not that it’s an end-all, but it’s something that is deepening your journey, right?

Yeah, yeah, absolutely, absolutely.

I would love for it to grow to a place where it’s, it sustains me on the financial realm, but I’ve built other things and systems in my life that support me in that way so that I can have the freedom of time and energy to do this because I really enjoy it.

Which is a really great reward, or just being able to reward yourself just for the pure joy of it.

Yeah, yeah.

Is there, okay, so I’m looking at your chart, and I have another question for you about what role has fear played for you in your life, and has it ever really been an issue for you?

I mean, obviously, we’re all humans, we all experience fear on some level.

This is something that in your spleen, your spleen center is the center of instinct and intuition, and every single gate that’s in that center has some fear associated with it, and you have one, two, three, four, five out of seven of these gates defined, and gate 57 is fear of the future, gate 44 is fear of the past, gate 50 is fear of not being able to nourish, gate 32 is fear of failure, gate 28 is the fear of purposelessness.

Those are all the ones you have defined, so I’m just curious.

Sometimes I talk to folks with a spleen like yours, and they’re like, oh my God, fear rules my life and I don’t know how to overcome it, and then other times people are like, oh no, I don’t even, it’s not even an issue, so I’m curious.

And I was looking at the chart or the diagram that you were sharing on screen with me.

Also guilt, because fear and guilt kind of go together for me a lot of times.

Yeah, you have that guilt motivation.

It’s a motivator, and that’s what, fear is a great motivator.

So as a younger individual, in my early 20s, I took up mountain climbing, and that eventually led me to climbing the seventh highest mountain in the world, in the Himalayas, you know, so to 27,000 feet in the Himalayas.

And, you know, talk about fear.

So it was always choosing something that would challenge me, but at the same time excited me and forced me into becoming acutely aware of body, like, you know, what’s happening in the body, so breathing, right?

Heart racing, what things are taking place, what’s happening in my brain, am I flushed?

And so I intentionally chose long-distance running and mountain climbing.

I actually became a New York State guide for a while.

I taught climbing in the Sierras.

We used to do a lot of trips to the high Sierras, and I would do these activities that would get me there.

And in much the same way, I tried opera singing in California when I was out there.

And that was probably the scariest thing I ever did, because it demanded such a high level of execution and such a high degree of dedication and practice and ritual and things that I did not have that sense of.

For me, climbing on a mountain and climbing on rock is much like a dance, and it’s more like, for me, it’s freeform.

It’s connection with the rhythms of the rock.

It’s connection with the feel of it.

And I could just find my own way and do it.

But in opera and many forms of music, it’s prescribed.

You have to follow this path.

You have to do it a certain way.

And that was very difficult.

So it has truly been a good lesson for me.

Challenging myself with using fear to motivate myself and then recognizing, okay, I’m in the panic zone.

We had this saying in our team building company, when is your rubber band the strongest?

When it’s stretched, you need to stretch it, but you don’t want to stretch it to the point where you’re in a panic zone where it could break.

And I actually did break down in my really early 30s.

I had a meltdown and it really was very scary for me.

But the beauty of that was it gave me time to reassess and time to get in touch with what was most important in my life.

And that was family, community, a sense of value, a sense of purpose.

And it was shortly after that that I began working in the experiential education field and that led me into the drumming.

And then ever since, the drumming has just been the, no matter what kind of a day, no matter how afraid I’ve been, no matter how much I’ve had to overcome, it always just relaxes me.

And I see that you’ve got my sense as meditation.

And drumming is a meditation, right?

It’s a form of connecting with the rhythms of your heart, of your brain, of your breath, of your lungs, and how to organize that in a very, you know, you start with where it’s at, and then you just keep drumming, and eventually it just, it just corrects itself.

It’s self-correcting.

And so, yeah, there’s no doubt about it.

Drumming saved my life.

And the fear was the motivator that got me to it and got me through it.

So, and that’s why I’m traveling all over the world now and trying to do big things all over and continue to want to expand my company.

I’m just signing on with a new group and I’m going to do more travel.

And most people my age would say, why aren’t you settling down and thinking about where are you going to settle down?

And I’m like, I’m just starting to live.

I can’t even begin to think about that.

Like I have so much I want to do and so much I want to see and experience.

And so many people I want to connect with and find out what their rhythms are and then find out how we can help each other.

So yeah, I’m here for it.

I’m rooting for you.

Thank you.

As I was listening to you talk about the mountain climbing and then this thing in California, I was drawn to glance at your your astro cartography chart here.

And this is something I don’t I don’t pull this into every episode, but every once in a while, if something really pops out.

So here’s what’s really, really cool.

So over here on the right hand side, you can see where India is and where the Himalayas are.

And you have these two green lines that are just running right in tandem.

And they run right skirt near Kathmandu, running right through the Himalayas.

Actually, that they run right near Pokhara, right near exactly where the mountain that I climbed.

OK, so you’re drawn there by these energies.

So this is your Venus and your Uranus, planetary lines.

If you follow them, because they go with the curvature of the earth, they go down and then we follow them over.

And then they come back up and look at where they go right along the West Coast, pretty much straight from LA all the way up, skirting off of Oregon there.

So pretty much it’s carrying the same energy.

So this is trippy, because, you know, I in my early 20s, that’s what I did.

I moved to Los Angeles to sing opera and learned about mountain climbing there.

And then guess where I’m going next week?

San Francisco, San Jose.

I’m going to be back in California.

It’s so cool because you like literally like are there on opposite sides of the planet, but they’re these planetary lines.

You’re Venus and a Neuronis descendant.

Wound up bisecting both of these places.

And then, so those are the descendant lines.

And descendant lines are, they have to do more with like how the energy of those planets is kind of reflected back to you through the people around you.

The people from those places are kind of like helping you to see that energy more.

But you also have the MC, the Uranus and Venus MC and IC lines.

They run longitudinally on the planet.

They skirt right by West Africa.

And very close to Morocco, where you had indicated one of your favorite pieces of music you would take with you on the deserted island.

That’s your music, Zhezuka.

Yeah, Zhezuka.

Would you talk about Zhezuka a little bit?

Well, I have yet to go.

So that’s another reason I have to stick around for a while.

They have this process that it’s pretty much nightly, and it can be anywhere from 10 to up to 200 musicians and dancers.

It’s like a celebration every day of life.

And it’s ever evolving.

It’s never quite the same.

But the rhythms, you know, if you know anything about Middle Eastern rhythms, they tend to use a lot of complex alternating rhythms.

So a lot of the West African tend to be more simple rhythms, but they use compound meters like 12, 8, 9, 8, and 7, 8.

And it’s very complex.

And I think that’s why I haven’t yet to be there.

It’s kind of where I’m evolving to.

But their music is so…

It’s all about the dance, as you said.

It’s very like the whirling dervish kind of a dance thing they do.

And so many, like Mickey Hart’s been there, Charlie Jones, all these, you know, The Stones got a lot of their music from there.

They’ve been such an inspiration for so many people, that it just felt like this is the place I need to go.

And I’ve always, and I’ve yet to hear their music, but it’s like when you ask like, who’s the one?

I’m like, I’m always like, what’s the next one?

And this is like the next place.

So I’m already starting to work on a plan to go to Scotland, Spain, Italy, and Morocco within the next two years.

So that’s the next trip.

So maybe I’ll have to create a trip where we all can go.

That sounds fun.

The next big trip that we got to go on is, we got to get our butts over to Ireland.

Oh, that’s amazing.

We both have ancestral roots from there.

So both Sean and I.

We’re just very connected to Scotland, right?

The Celts.

And my family was all is actually has Irish background, UK and Irish stuff.

So as we’re like kind of coming to the end of our time here, I’m wondering, something just popped into my head.

Do you have like a favorite event that you’ve ever done?

Like, what’s your favorite place that you’ve drummed?

I mean, obviously, like, you’ve done all of these kind of more institutional things.

And then I know you’ve done more like free flowing things on the beach.

Like, what’s been kind of one that really pops out?

A few that really pop out for three years went to Bonnaroo and we would build 400 African djembes in three days with people.

They would buy, I know, it’s crazy, building full-sized African drums.

Now, these are not carved shell drums.

These are what we call stave drums.

They’re warts that are created in a template, they’re glued together and then you have the top, which is called the bell and the pedestal.

And you get the ropes and the skin and we help people create their own drums.

But every day, throughout the day, just to keep the energy going, we would have our own drum circles.

And then you’re surrounded by 120,000 of your closest friends and like 12 stages of music and it’s hot, it’s witty and rainy and thundering.

And you’re standing there for like 18 hours a day, pulling on ropes and you’re just exhausted.

And then you drag yourself over to the silent disco tent at like one in the morning.

And you can barely get there.

You’re walking like Frankenstein over there, like I’m going to get there, I’m going to get there.

And then you get there and you don’t hear anything, but you see everybody like, you know, dancing and then you get your headphones.

And then you’re like doing the same thing with everybody.

And you’re doing that for two hours until you fall asleep.

And then you wake up two hours later and you do it again.

Yeah, that was one of the most fun things I’ve ever done.

I missed the opportunity.

I could have gone and done this at Burning Man, but I turned it down.

I kind of, and now that window of opportunity kind of closed down.

I have one of my, I’m going to tell you about my favoritest favoritest event.

And it was my second ever professional drum circle.

Have you ever heard of Deepak Chopra?

Yeah, okay.

So a friend of mine who was the point person for the Chopra Institute was looking for a place in Florida to have a retreat for Deepak Chopra.

And so they found a spot in Naples, Florida, where they’ve just been hit by all these storms.

And anyway, the Chopra Institute came there and they were doing 350 people, the seven days, the seduction of silence.

It was a seven-day silent retreat.

But in the middle of the retreat, they got to have a one-hour activity where they could, you know, dance, sing, do whatever they want.

And my friend automatically thought of me.

So I contracted to do a drum circle with 350 people in Deepak Chopra.

And it was the craziest party I’ve ever been to.

You know, it was just amazing.

And the place we’re going to start drumming pretty soon is Red Rocks at the Amphitheater.

That’s got to be the most amazing place.

Oh, yeah.

The acoustics there are really cool.

I know.

But I’ve gotten to, you know, I love singing too.

And I love, you know, singing and I’ve sung in cathedrals and grottos.

There’s so many places on the planet that are so perfect for this.

And then, you know, that I was in Hawaii this summer and drummed on a volcano with the waves that continue to lap the shore for thousands, same waves for thousands of years and the winds that keep blowing over it.

And that is just so incredible too.

So, you know, I just can’t say enough for people to get out there and find a way to make music.

And if it’s a drum circle, I’d be loved to help them get there because there’s so many incredible ways to do it.

So, yeah, yeah, we’re.

Yeah, that’s that’s a good list.

Yeah.

Do you host any currently that are in local tusks here in central New York?

Yeah, you used to.

Yeah, the sixty four thousand dollar question.

Honestly, I find for me personally, Syracuse has been a tough nut to crack for public events.

Syracuse is a great community for blues, rock and roll.

A lot of great places to play, a lot of great bands, a lot of great music.

But you know, it’s not always the easiest place to find a venue that doesn’t cost a lot of money or you know.

And so for what I do, no, I don’t have anything currently.

But the new thing we are doing, and so I will let your listeners know that I’ve been working the last couple of years on something called Vibe Tribes.

And so I partner with anybody who wants to collaborate and host it at a home.

And we kind of sit down and we talk about what they want to get out of it, whether it’s self-expression, it could include art, it can include like, I know you’ve done some of these really great, inclusive artistic, you know, days, the art days that were so much fun.

As a matter of fact, the going around the table and having 30 seconds on everybody’s canvas, that I got that idea for one of those.

So thank you very much, I’ve used that.

We do these things called Vibe Tribes.

And there’s one overarching thing, and that is everybody wants to connect in the groove.

And it’s in the groove and the vibe of the time.

And so we design it, we try to limit it to 15 to 20 people, max, it could also be a dozen.

We figure out the frequency and we just dive deep.

And so it’s kind of more satisfying because it’s more like going to your friends and jamming with rather than just always doing the big community thing.

So, yeah, that sounds really cool.

We go one in Hamilton and we may have one starting in Syracuse this month, next month.

Are we in November?

Not quite.

Not yet.

We’re almost there.

That sounds cool.

I’ll be happy to let you and Sean know in on that.

Yeah.

Let us know.

I mean, we’re in Auburn now, but maybe we could have one here.

Auburn’s got a really tight knit little community of people who are active in the music scene.

We’ve been going out pretty much like one night a week.

We go down to Moon Dogs usually on Friday, sometimes on Saturday, and we’re starting to see the same handful of people.

Shep’s Brewing also sometimes does music, and yeah, we’ve already made friends with tons of musicians and just people that love music, and like I said, it’s a pretty tight knit little community of folks around here that are just really passionate about music, like us.

We go out every single week.

And as I know, you well to know about how much, how comfortable you are with like, yeah, bringing in drumming, like as in your wedding, bringing in drumming.

But you also have all the music too, and that’s what we do with the Vibe Tribe.

We can do that.

We can, I say, yes, bring your guitar, bring your, we just don’t like, just not too loud electrically, but you know, bring it in so we can all go deep more acoustically.

But yeah.

Yeah.

I just was reminded, well, okay, there’s a couple of things I want to chime in on here.

First of all, for anybody that doesn’t know, we had Jimbo come bring, I don’t know, how many drums did you bring?

Like 40 or 50 drums.

Yeah.

Something like that to our wedding when Sean and I got married last year.

He brought some drums and asked him to lead all of the folks that were there for the ceremony through basically like a drum instruction drum thing.

My idea for it was that I wanted to walk down the aisle to all my friends and family hitting drums.

I just thought it would be the coolest thing and it was.

I just had a really surreal moment as I was getting ready in the bridal suite.

I had my dress on, I had all my makeup and hair done.

We were just riding out the clock and then all of a sudden, I felt the drumming in my feet through the floor.

Then I looked up and I looked outside and I saw everybody hitting the drums that I could hear it getting louder.

I was like, oh, so cool.

It was definitely really made it so incredibly special and you were a huge part of bringing our vision to fruition and it was so cool.

So special for me.

I’d never done that.

Talk about fear as a motivator.

Never having done that, could you do that?

I’m like, sure.

I just trust in it and I trust in people and they did.

They just picked it up beautifully.

Yeah.

Yeah.

It was like, you know, and no pressure if somebody didn’t want to hit a drum.

They didn’t have to hit a drum.

It’s always that way.

That’s part of the etiquette in music.

Sometimes people just want to listen.

That’s fine.

And then we brought in all that.

We had to bring in a few extra special chimes and tinkly sounds when you came because you look extra special.

That day, you were just beautiful all the time.

You were all made up so well.

God, that was so much fun.

Yeah, it was such a fun day.

People really loved you and your energy.

People are still talking about how much fun that whole thing was.

But another piece that came in for me as you’re talking about these vibe tribes, I remember back when I was hanging out at Sterling Stage a lot.

We used to have nightly drum circles around the fires.

Sometimes people would keep to their campsites, but often, especially if they were like drummer musicians that were around for the festival, like if Iman from Sophistic Funk was there, and 6ix9ine from Root Shock was there, and he also had the band Organic Soul.

There was a couple of the band drummers would come down to the big fire down in Sinatra Lounge and would take over the fire.

Sometimes it would be challenging to try to play our acoustic instruments in tandem with these drum circles.

But there was a really cool moment one night where, all of a sudden, I got the idea and I was like, wait a second, I have this snark tuner on my mandolin, which picks up the vibration of the string when I pluck it and tells me what it’s tuned to.

So I just turned on my tuner and I just held it really close to the drum circle and was looking at what were the primary notes that were coming through the drums.

And it would flash, it would be like A-A-E-A-A-A-E-E-A-A-E.

And I’m like, oh, okay, these drums are like kind of in the key of A here.

So, okay, and then me and a couple other people that were trying to play are like, my mandolin, acoustic guitar, things like that.

We said, okay, let’s come up with a little chord progression that works for this rhythm.

And then we started really jamming.

And it was cool.

And we let the drums lead us in that way.

And I feel like it was just such a profound moment because, like I said, for quite a few years, it would always be this kind of late night battle between the drums and the acoustic instruments.

And it was a really cool moment of just being a little thinking outside the box and being a little ingenuitive with how we could work with the drums there.

First of all, A and E being a consonant interval, right?

A perfect fourth or perfect fifth, those are consonant intervals.

So they’re so natural and they’re such good keys.

And I didn’t even know this till the summer when we were in Hawaii and they were tuning every day, re-tuning the bass drums to have these certain intervals.

So it would be because the people don’t realize a lot of times when you go to these drum circles where there’s a lot of testosterone and all the big heavy hitters are just like, yeah, you know, it’s kind of like show up showing off, right?

But no, there’s so much musicality in them.

And then they do lend themselves really well.

And then when everybody’s really tuned in and focused in on that, that’s when it works.

So what you’re describing is exactly what we would try to do in a vibe tribe.

It’s like, you know, it’s not about how flashy we can be or how loud we can be.

It’s just about how tuned in to each other we can be.

So that’s very cool.

Yeah, and I, Andrea Canale, I don’t know if you know Andrea.

Yeah, you know, of course.

She had told me about some of the drum circles.

She tried to do a few things up there.

It’s too bad they don’t do a lot of that now, but, but you know, I just don’t get out there a lot to a lot of the community events because, well, I resonate with people that often don’t get served, you know, communities that don’t get served.

And they’re my greatest teachers.

So I love working with them, but I also love Vibe Tribes and hey, I’m more than happy to do a community drum circle.

Somebody wants to pay me come to it.

Have you ever done programs for autistic kids or neurodivergent community?

I’m an artist in residence at a developmental disability community in school, Pathfinder Village in Otsego County.

It’s a model community.

There are about 150 full-time residents.

They have a college program and they have a school with three classes with about 20 to 25 students on average.

I’ll be there tomorrow morning.

I go two to three times a month and it’s incredible.

Again, talk about working with folks that don’t have mastery over language skills that I can get, but have expressions and ways of expressing things that I can incorporate it into my life and I learn so much from them.

So, yeah, it’s amazing, that’s the thing.

That’s why I don’t have to get really rich and famous because I’m already rich from these experiences of working with people that are so special.

I don’t mean because they have that, but they’re just special people that other people don’t get.

And so I’m blessed to be able to get them.

Yeah, yeah, definitely.

I feel that.

I feel that.

Oh, very cool.

Loved all of this.

I really love talking with you and seeing you and hanging out, being in your energy.

It’s just always so just nourishing and grounding and.

Likewise, would you tell everybody if anybody wants to work with you or follow you or just kind of stalk you quietly from the Internet?

What’s your what’s your website and Instagram or Facebook?

Where do you kind of like hang out more more often?

Yeah, I’m not the greatest social media folks, but www.drumquest.com is my website.

You can communicate with me directly through that, or you can e-mail me jim at drumquest.com.

I’m on Facebook under Jimbo.

You don’t have to ask me why now, Jimbo Talbot.

Instagram is Jimbo Drum One.

So when I do put things on Instagram too.

Yeah, I’d love to hear from anyone who has just stories or questions or ideas.

It’s amazing.

So thank you for this.

This has been so much fun.

I don’t want it to stop.

But I know we-

Me either.

Me either.

Hey, you made it to the end of the episode.

What did you think?

Are you fascinated by this all?

Do you have loads of questions now?

Are you going to go look up some charts of all your favorite musicians?

Well, come on over to my Patreon page at the link of the show notes and let me know all about it.

I would also really love it if you could leave a rating and review and share the podcast with a friend who you think might enjoy it.

Until next time, keep on rocking my friends.