<![CDATA[Bopworks Drumsticks: Latest News]]> https://www.bopworks.net Tue, 09 Jun 2026 15:09:11 +0000 <![CDATA[The Pitching of Drumsticks]]> https://www.bopworks.net/drum-stuff/the-pitching-of-drumsticks/ Sun, 09 Feb 2025 15:57:58 +0000 https://www.bopworks.net/drum-stuff/the-pitching-of-drumsticks/ To Pitch or not to Pitch?

The importance of weighing and/or pitch pairing drumsticks differs among drummers. I'm always surprised how vociferously the various concepts are championed, so please understand the viewpoint(s) offered are merely our own collection of interesting tidbits. We do for the record, pitch our sticks...


So, what is the "no pitching" concepts some drummers go by?

Take a pair of sticks that are “pitched”. The style you play, as well as your grip(s) can bring the validity of the pitch aspect into question. Playing on toms, snare, cymbals, combining those into grooves does not rely on pitch because you playing different surfaces much of the time. Our right and left hands are different, so you make adjustments with your hands to each surface. Now, granted, a symphony player would certainly want similar sound from each stick for precision. But is that defined by pitch or is exact weight more important? We believe the latter.

One flaw some drummers see in the pitching argument has to deal with “nodes”(see article below). For example: there are nodal points on a guitar string- where the string is pressed onto the neck is a “node point”. Different finger placement on the string, different node points. The space between nodal points, short to long to short to longer, cause the string to vibrate differently between each node.

And yes! Nodal points on a drumhead as well. That’s why the damn things give us trouble tuning - there are nodal points shooting off everywhere. Tuning cross-lug helps match the node points on the head. If you want your head to explode, read “Science of Percussion Instruments” by Thomas Rossing.


 https://www.amazon.com/Science-Percussion-Instruments-Popular/dp/9810241585/ref=sr_1_fkmr0_1?keywords=the+science+of+percussion+instruments+thomas+rosling&qid=1569197133&s=gateway&sr=8-1-fkmr0



Lastly, please take the time to read the article below. It comes from an issue of “Leedy Drum Topics”. Although we can’t verify the author, it would be a reasonable guess to assume it’s George Way, given his position with Leedy at the time. Maybe we’ll get more information as things progress. Thanks to Rob Cook.

The article date is 1929.Yes, 1929... I’ve “redrawn” the diagram with the article as the image quality suffered during the reprinting of the article.

 

"It is only natural that Drummers should want the best for their money in drum sticks the same as an other article they may purchase and we do not blame any Drummer who will turn down a pair of warped sticks. Of course the easiest way to learn whether or not a stick is warped is to roll it on a smooth surface such as the counter of a music store. This is a good stunt. As a further test we have seen some Drummers hold the sticks in their accustomed playing position and strike them alternately, listening to the tone of the contact. Oft-times the Drummer will condemn a pair because there happens to be a decided difference between the tones. On they go thru a great number of sticks, only to find (with more or less degree) the same difference of tone between every pair they pick up.

Just where this method of testing originated and what it stands for we do not know. However, it is an erroneous idea to judge the playing qualities of a pair of sticks on the basis of their sounding qualities. Sticks should be judged by their equality of weight and their straightness. There are three reasons why no two sticks sound exactly alike when struck on a counter, practice pad, desk, drum or any other object. First, the fingers always grasp the stick below the node line and, to a certain extent, this kills the natural resonance of the tone of the stick. The left hand always grasps the stick nearer the tip than is the case with the right hand, and the left does not hold the stick as firmly as the right. These points help to make a difference between the two, but are not the only factors that decide the different tones.

Second, no two drum sticks are EXACTLY alike in the density of grain. This is a condition of nature that took place when the wood was in the process of growth and no one has any control over it. If the stick happens to be held in the hand (either the right or left) with the grain of the wood edgewise, the tone will be higher — and if the stick is held with the grain of the wood crosswise, the tone will be lower. This can easily be proven by holding the stick in the manner shown in the accompanying illustration and striking it with a half hard bell hammer, first holding the stick with the grain edgewise and then turning it until the grain runs crosswise. Striking it in this manner allows the full tone of the stick to come forth and it will be noticed that the tone varies as the grain is turned.

Third, it will also be noticed that there is a difference in the tone of either stick when it is struck on a hard surface first lightly and then with more force.

Out of 500 sticks there is only a slight chance of finding two that sound exactly alike, regardless of what test is given them, and out of this same number it is almost impossible to find two that weight EXACTLY the same; meaning, of course, if they are weighed scientifically on a very delicate scale. The difference in weight may be so slight that human hands could not detect it, but it is there just the same, and this of course, plays a part in governing the stick’s tone.

Drum Sticks should be chosen to fit the drum — NOT to the SIZE of the drum, BUT TO THE THICKNESS OF THE HEADS USED. A heavy drum stick will not bring out the best tone from a light head because it overpowers the resistance of such a head. A light stick will not set up enough motion in a heavy head to bring out the best tone the instrument is capable of producing. Choose sticks of the proper weight to give them a “throw back” from the head.

The Drummer who follows these latter suggestions may be convinced that he would get better results by changing to another model, but at the same time, hesitates to make the change because of being so used to those he is now using. Changing from one model to another is not serious. Any Drummer who will go on the job with the new model and leave the old model behind where they cannot be reached, will find that before the evening is over he has become thoroughly accustomed to the new and from then on it will be “smooth sailing,” with improved results."

“More About Drum Sticks.” Leedy Drum Topics 18 (1929). In Rob Cook, comp. Leedy Drum Topics, Complete from 1923 to 1941. Anaheim: Cedar Creek Publishing, 1993. Print.

]]> To Pitch or not to Pitch?

The importance of weighing and/or pitch pairing drumsticks differs among drummers. I'm always surprised how vociferously the various concepts are championed, so please understand the viewpoint(s) offered are merely our own collection of interesting tidbits. We do for the record, pitch our sticks...


So, what is the "no pitching" concepts some drummers go by?

Take a pair of sticks that are “pitched”. The style you play, as well as your grip(s) can bring the validity of the pitch aspect into question. Playing on toms, snare, cymbals, combining those into grooves does not rely on pitch because you playing different surfaces much of the time. Our right and left hands are different, so you make adjustments with your hands to each surface. Now, granted, a symphony player would certainly want similar sound from each stick for precision. But is that defined by pitch or is exact weight more important? We believe the latter.

One flaw some drummers see in the pitching argument has to deal with “nodes”(see article below). For example: there are nodal points on a guitar string- where the string is pressed onto the neck is a “node point”. Different finger placement on the string, different node points. The space between nodal points, short to long to short to longer, cause the string to vibrate differently between each node.

And yes! Nodal points on a drumhead as well. That’s why the damn things give us trouble tuning - there are nodal points shooting off everywhere. Tuning cross-lug helps match the node points on the head. If you want your head to explode, read “Science of Percussion Instruments” by Thomas Rossing.


 https://www.amazon.com/Science-Percussion-Instruments-Popular/dp/9810241585/ref=sr_1_fkmr0_1?keywords=the+science+of+percussion+instruments+thomas+rosling&qid=1569197133&s=gateway&sr=8-1-fkmr0



Lastly, please take the time to read the article below. It comes from an issue of “Leedy Drum Topics”. Although we can’t verify the author, it would be a reasonable guess to assume it’s George Way, given his position with Leedy at the time. Maybe we’ll get more information as things progress. Thanks to Rob Cook.

The article date is 1929.Yes, 1929... I’ve “redrawn” the diagram with the article as the image quality suffered during the reprinting of the article.

 

"It is only natural that Drummers should want the best for their money in drum sticks the same as an other article they may purchase and we do not blame any Drummer who will turn down a pair of warped sticks. Of course the easiest way to learn whether or not a stick is warped is to roll it on a smooth surface such as the counter of a music store. This is a good stunt. As a further test we have seen some Drummers hold the sticks in their accustomed playing position and strike them alternately, listening to the tone of the contact. Oft-times the Drummer will condemn a pair because there happens to be a decided difference between the tones. On they go thru a great number of sticks, only to find (with more or less degree) the same difference of tone between every pair they pick up.

Just where this method of testing originated and what it stands for we do not know. However, it is an erroneous idea to judge the playing qualities of a pair of sticks on the basis of their sounding qualities. Sticks should be judged by their equality of weight and their straightness. There are three reasons why no two sticks sound exactly alike when struck on a counter, practice pad, desk, drum or any other object. First, the fingers always grasp the stick below the node line and, to a certain extent, this kills the natural resonance of the tone of the stick. The left hand always grasps the stick nearer the tip than is the case with the right hand, and the left does not hold the stick as firmly as the right. These points help to make a difference between the two, but are not the only factors that decide the different tones.

Second, no two drum sticks are EXACTLY alike in the density of grain. This is a condition of nature that took place when the wood was in the process of growth and no one has any control over it. If the stick happens to be held in the hand (either the right or left) with the grain of the wood edgewise, the tone will be higher — and if the stick is held with the grain of the wood crosswise, the tone will be lower. This can easily be proven by holding the stick in the manner shown in the accompanying illustration and striking it with a half hard bell hammer, first holding the stick with the grain edgewise and then turning it until the grain runs crosswise. Striking it in this manner allows the full tone of the stick to come forth and it will be noticed that the tone varies as the grain is turned.

Third, it will also be noticed that there is a difference in the tone of either stick when it is struck on a hard surface first lightly and then with more force.

Out of 500 sticks there is only a slight chance of finding two that sound exactly alike, regardless of what test is given them, and out of this same number it is almost impossible to find two that weight EXACTLY the same; meaning, of course, if they are weighed scientifically on a very delicate scale. The difference in weight may be so slight that human hands could not detect it, but it is there just the same, and this of course, plays a part in governing the stick’s tone.

Drum Sticks should be chosen to fit the drum — NOT to the SIZE of the drum, BUT TO THE THICKNESS OF THE HEADS USED. A heavy drum stick will not bring out the best tone from a light head because it overpowers the resistance of such a head. A light stick will not set up enough motion in a heavy head to bring out the best tone the instrument is capable of producing. Choose sticks of the proper weight to give them a “throw back” from the head.

The Drummer who follows these latter suggestions may be convinced that he would get better results by changing to another model, but at the same time, hesitates to make the change because of being so used to those he is now using. Changing from one model to another is not serious. Any Drummer who will go on the job with the new model and leave the old model behind where they cannot be reached, will find that before the evening is over he has become thoroughly accustomed to the new and from then on it will be “smooth sailing,” with improved results."

“More About Drum Sticks.” Leedy Drum Topics 18 (1929). In Rob Cook, comp. Leedy Drum Topics, Complete from 1923 to 1941. Anaheim: Cedar Creek Publishing, 1993. Print.

]]> <![CDATA[Everything you want to know about wire drum brush origins.]]> https://www.bopworks.net/drum-stuff/everything-you-want-to-know-about-wire-drum-brush-origins/ Tue, 19 Dec 2023 01:05:35 +0000 https://www.bopworks.net/drum-stuff/everything-you-want-to-know-about-wire-drum-brush-origins/

Starting shortly after the turn of the century in the early 1900s, there are reports and anecdotes of many strange objects that graced the evolutionary tree we now credit for providing modern day brushes. Among those objects were sandpaper, whisk brooms and actual fly swatters. (1, 2) It’s William Ludwig II who is said to have had a letter establishing the official creation date of brushes via patent:

“I am happy to inform you that they were invented by two co-inventors Alliston and Weinstein in 1913 as “Fly Killers.” I have this patent in my files. They look very much as they do today.”

In the early 20s, Baby Dodds claimed to have been one of the earliest, albeit reluctant, users of actual brushes, ultimately preferring to change his technique with drumsticks to achieve the desired sound. 

Different makers have offered their take on best design, from light- to heavier weight gauge wire, different materials for the hand piece, and various takes on other features (e.g., to add a ball at the end or not to add a ball). Aaaand, different problems have ensued, for example, hand pieces that were too brittle or hand pieces made of a material that became sticky over time, not getting the desired sound out of the wire, and the inability to set and hold a desired spread. Some drummers would bend the main rod so that the spread they desired locked into place; some would step on their brushes, using their foot to bend the wires in place.

Commercially, Leedy, Ludwig and Slingerland advertised them as “Jazz Sticks” or “Synco Jazz Sticks” in their very early catalogs. Brushes have been with us for a long time by now, and have had ups and downs in popularity. Many Jazz drummers of the 1960s certainly believed this new, garish Rock ’n Roll would be the end of these wire gadgets, but every generation of drummers seems to find them useful both in tradition and new musical settings. Whether back scratcher, fly swatter, whisk or fan — and whatever the exact birth and evolution of brushes was — the ability to create a softer, evocative shushing, scratching, or pat-tapping sound, was now a part of the drummer’s performative vernacular and it was here to stay.

Inasmuch as we don’t have a clear view into exactly when brushes as we now know them were fully a part of the stick bag, we also don’t know what gauge wire the early brushes used. Reading through METRONOME, DOWNBEAT, and other music magazines of the 1920's to 1930's makes it clear that details of that sort never really filtered into the marketing copy from manufacturers. However, drummers did seem to be interested in brushes’ adjustment features, such as preventing deforming the wires into clumps and keeping uniform the spread of the wires once set in position.

]]>

Starting shortly after the turn of the century in the early 1900s, there are reports and anecdotes of many strange objects that graced the evolutionary tree we now credit for providing modern day brushes. Among those objects were sandpaper, whisk brooms and actual fly swatters. (1, 2) It’s William Ludwig II who is said to have had a letter establishing the official creation date of brushes via patent:

“I am happy to inform you that they were invented by two co-inventors Alliston and Weinstein in 1913 as “Fly Killers.” I have this patent in my files. They look very much as they do today.”

In the early 20s, Baby Dodds claimed to have been one of the earliest, albeit reluctant, users of actual brushes, ultimately preferring to change his technique with drumsticks to achieve the desired sound. 

Different makers have offered their take on best design, from light- to heavier weight gauge wire, different materials for the hand piece, and various takes on other features (e.g., to add a ball at the end or not to add a ball). Aaaand, different problems have ensued, for example, hand pieces that were too brittle or hand pieces made of a material that became sticky over time, not getting the desired sound out of the wire, and the inability to set and hold a desired spread. Some drummers would bend the main rod so that the spread they desired locked into place; some would step on their brushes, using their foot to bend the wires in place.

Commercially, Leedy, Ludwig and Slingerland advertised them as “Jazz Sticks” or “Synco Jazz Sticks” in their very early catalogs. Brushes have been with us for a long time by now, and have had ups and downs in popularity. Many Jazz drummers of the 1960s certainly believed this new, garish Rock ’n Roll would be the end of these wire gadgets, but every generation of drummers seems to find them useful both in tradition and new musical settings. Whether back scratcher, fly swatter, whisk or fan — and whatever the exact birth and evolution of brushes was — the ability to create a softer, evocative shushing, scratching, or pat-tapping sound, was now a part of the drummer’s performative vernacular and it was here to stay.

Inasmuch as we don’t have a clear view into exactly when brushes as we now know them were fully a part of the stick bag, we also don’t know what gauge wire the early brushes used. Reading through METRONOME, DOWNBEAT, and other music magazines of the 1920's to 1930's makes it clear that details of that sort never really filtered into the marketing copy from manufacturers. However, drummers did seem to be interested in brushes’ adjustment features, such as preventing deforming the wires into clumps and keeping uniform the spread of the wires once set in position.

]]> <![CDATA[The Stick Station]]> https://www.bopworks.net/drum-stuff/the-stick-station/ Wed, 18 Oct 2023 23:40:57 +0000 https://www.bopworks.net/drum-stuff/the-stick-station/ Logo

Tray

]]> Logo

Tray

]]> <![CDATA[Gift Certificates!]]> https://www.bopworks.net/drum-stuff/gift-certificates/ Sun, 11 Dec 2022 13:13:03 +0000 https://www.bopworks.net/drum-stuff/gift-certificates/ <![CDATA[Artcymbal]]> https://www.bopworks.net/blog/artcymbal/ Thu, 11 Apr 2019 15:05:21 +0000 https://www.bopworks.net/blog/artcymbal/

Manabu Yamamoto makes really amazing cymbals. Like - really amazing. Like actual old K's. Here's a quote from his site:

"I start from a completely flat sheet of B20 bronze which I import from the best foundries in Turkey. (In some YM and YC series I used blanks with a hydraulic pressed cup, which is normal in modern cymbal making.) By hand-forming it, it gives a great density to the bell, and opens up bright and complex overtones. Also I often make the bells "off-centered" or not in a perfectly round shape, because it produces the mysterious sound I want. The Istanbul Ks and the original Constantinople Ks gave me the inspiration for the hand-formed bell."

You can hear every cymbal he's made or has for sale on Youtube. He plays each with a variety of sticks, maple and hickory so the listener can hear the difference in sound and the range of the cymbal. 

Since he's making each one by hand, you're not going to see a large amount of stock available, but that's part of the charm and more importantly, the sound.

Did I get one?  Yup. Then I went back and got a pair of hi hats...Seriously, go check 'em out.

e-mail: yamatake@fa3.so-net.ne.jp

homepage: artcymbal.com

https://www.youtube.com/user/manabuchannel

https://twitter.com/artcymbal

https://www.instagram.com/artcymbal/

https://www.facebook.com/artcymbal/

]]>

Manabu Yamamoto makes really amazing cymbals. Like - really amazing. Like actual old K's. Here's a quote from his site:

"I start from a completely flat sheet of B20 bronze which I import from the best foundries in Turkey. (In some YM and YC series I used blanks with a hydraulic pressed cup, which is normal in modern cymbal making.) By hand-forming it, it gives a great density to the bell, and opens up bright and complex overtones. Also I often make the bells "off-centered" or not in a perfectly round shape, because it produces the mysterious sound I want. The Istanbul Ks and the original Constantinople Ks gave me the inspiration for the hand-formed bell."

You can hear every cymbal he's made or has for sale on Youtube. He plays each with a variety of sticks, maple and hickory so the listener can hear the difference in sound and the range of the cymbal. 

Since he's making each one by hand, you're not going to see a large amount of stock available, but that's part of the charm and more importantly, the sound.

Did I get one?  Yup. Then I went back and got a pair of hi hats...Seriously, go check 'em out.

e-mail: yamatake@fa3.so-net.ne.jp

homepage: artcymbal.com

https://www.youtube.com/user/manabuchannel

https://twitter.com/artcymbal

https://www.instagram.com/artcymbal/

https://www.facebook.com/artcymbal/

]]> <![CDATA["Benny Amons New Orleans Pearls" wins the coveted Jazz lives "GFP" Award.]]> https://www.bopworks.net/blog/benny-amons-new-orleans-pearls-wins-the-coveted-jazz-lives-gfp-award/ Fri, 08 Mar 2019 15:08:08 +0000 https://www.bopworks.net/blog/benny-amons-new-orleans-pearls-wins-the-coveted-jazz-lives-gfp-award/ Nice going, Benny!

With: Benny Amon, Wendall Brunious, Steve Pistorius, Freddie Lonzon, Alex Belhaj, Tom Fischer, Tyler Thomson, Joe Goldberg and Tim Laughlin...

 https://jazzlives.wordpress.com/tag/benny-amons-new-orleans-pearls/

https://jazzlives.wordpress.com/2019/02/25/benny-amons-new-orleans-pearls-wins-the-coveted-jazz-lives-gfp-award-benny-amon-wendell-brunious-steve-pistorius-freddie-lonzo-alex-belhaj-tom-fischer-tyler-thomson-joe-goldberg-ti/

]]> Nice going, Benny!

With: Benny Amon, Wendall Brunious, Steve Pistorius, Freddie Lonzon, Alex Belhaj, Tom Fischer, Tyler Thomson, Joe Goldberg and Tim Laughlin...

 https://jazzlives.wordpress.com/tag/benny-amons-new-orleans-pearls/

https://jazzlives.wordpress.com/2019/02/25/benny-amons-new-orleans-pearls-wins-the-coveted-jazz-lives-gfp-award-benny-amon-wendell-brunious-steve-pistorius-freddie-lonzo-alex-belhaj-tom-fischer-tyler-thomson-joe-goldberg-ti/

]]> <![CDATA[Bopworks welcomes Jazz Great Pablo Prieto]]> https://www.bopworks.net/blog/bopworks-welcomes-jazz-great-pablo-prieto/ Wed, 27 Feb 2019 13:37:49 +0000 https://www.bopworks.net/blog/bopworks-welcomes-jazz-great-pablo-prieto/

Pablo Prieto


(be sure to check out the clips below...)

Pablo Prieto, was born in Mexico City, Mexico. At an early age he showed great interest in music and drums. He started playing drumset in concerts when he was 14 years old with his own Jazz combo. He studied music theory at Universidad Nacional Autónoma de México.


During the early 80s, he was busy at recording studios, TV shows and touring with pop singers all over America.
He was invited to play at the 1985 Montreal Jazz Festival and then played at the Quebec Summer Festival.
Pablo Prieto is listed in Gabriel Pareyón’s music dictionary of México: “Self-taught contemporary drummer, one of the brightest jazz drummers in the Jazz scene of Mexico”.

Pablo Prieto productions include:

Body and Soul (Audio CD, 2007).
Summer Song (Audio CD, 2009).
Dave Brubeck: A Celebration! (Audio Video DVD, 2013).
Triology with Jazz legend Eddie Gomez (Audio CD, 2017).

Career and touring highlights:

Ken Karsh (Pittsburg, USA).
Louise Phelan (Ireland).
Cindy Scott (New Orleans, USA).
Tineke Postma (Netherlands).
Hanne Tvetter (Oslo, Norway).
Eddie Gomez (New York, USA).

Currently Pablo is endorsed by Canopus Drums, Istanbul Agop. and Bopworks Drumsticks.

"Cottontail" brush solo:

https://youtu.be/XA83-7ShCAg

"Sounds of the Loop" drum solo:

https://youtu.be/kZQa6iXrAz0

"Golden Horn" drum solo"

https://youtu.be/qHerHWcxlAs

]]>

Pablo Prieto


(be sure to check out the clips below...)

Pablo Prieto, was born in Mexico City, Mexico. At an early age he showed great interest in music and drums. He started playing drumset in concerts when he was 14 years old with his own Jazz combo. He studied music theory at Universidad Nacional Autónoma de México.


During the early 80s, he was busy at recording studios, TV shows and touring with pop singers all over America.
He was invited to play at the 1985 Montreal Jazz Festival and then played at the Quebec Summer Festival.
Pablo Prieto is listed in Gabriel Pareyón’s music dictionary of México: “Self-taught contemporary drummer, one of the brightest jazz drummers in the Jazz scene of Mexico”.

Pablo Prieto productions include:

Body and Soul (Audio CD, 2007).
Summer Song (Audio CD, 2009).
Dave Brubeck: A Celebration! (Audio Video DVD, 2013).
Triology with Jazz legend Eddie Gomez (Audio CD, 2017).

Career and touring highlights:

Ken Karsh (Pittsburg, USA).
Louise Phelan (Ireland).
Cindy Scott (New Orleans, USA).
Tineke Postma (Netherlands).
Hanne Tvetter (Oslo, Norway).
Eddie Gomez (New York, USA).

Currently Pablo is endorsed by Canopus Drums, Istanbul Agop. and Bopworks Drumsticks.

"Cottontail" brush solo:

https://youtu.be/XA83-7ShCAg

"Sounds of the Loop" drum solo:

https://youtu.be/kZQa6iXrAz0

"Golden Horn" drum solo"

https://youtu.be/qHerHWcxlAs

]]> <![CDATA[New Benny Amon CD release]]> https://www.bopworks.net/blog/new-benny-amon-cd-release/ Tue, 26 Feb 2019 22:31:16 +0000 https://www.bopworks.net/blog/new-benny-amon-cd-release/ We are pleased and honored to welcome New Orleans great Benny Amon to Bopworks.

Since moving to New Orleans in 2011 from his hometown of Davis, California, Benny has become one of the most in demand drummers on the New Orleans jazz scene.

Since then Benny has been involved in recording sessions, tours, festivals, and special projects with all of the top traditional jazz musicians in New Orleans. Benny has performed in Japan as a cultural ambassador, in Brazil at the International I Love Jazz Festival, in Argentina, Belgium, Germany, Denmark, and Sweden as a guest artist.

At home in New Orleans, Benny performs regularly at the world famous Preservation Hall, The Palm Court Jazz Cafe, and on the Mississippi river aboard the Steamboat Natchez. Every year he performs at the New Orleans Jazz & Heritage Festival, The French Quarter Festival, The Summer Satch. Benny endorses and performs exclusively on Bopworks drumsticks and brushes.

Check out the new CD:

bennyamon.com

https://soundcloud.com/benny-amon

]]> We are pleased and honored to welcome New Orleans great Benny Amon to Bopworks.

Since moving to New Orleans in 2011 from his hometown of Davis, California, Benny has become one of the most in demand drummers on the New Orleans jazz scene.

Since then Benny has been involved in recording sessions, tours, festivals, and special projects with all of the top traditional jazz musicians in New Orleans. Benny has performed in Japan as a cultural ambassador, in Brazil at the International I Love Jazz Festival, in Argentina, Belgium, Germany, Denmark, and Sweden as a guest artist.

At home in New Orleans, Benny performs regularly at the world famous Preservation Hall, The Palm Court Jazz Cafe, and on the Mississippi river aboard the Steamboat Natchez. Every year he performs at the New Orleans Jazz & Heritage Festival, The French Quarter Festival, The Summer Satch. Benny endorses and performs exclusively on Bopworks drumsticks and brushes.

Check out the new CD:

bennyamon.com

https://soundcloud.com/benny-amon

]]> <![CDATA[Steve Schwelling release]]> https://www.bopworks.net/blog/steve-schwelling-release/ Tue, 26 Feb 2019 22:19:01 +0000 https://www.bopworks.net/blog/steve-schwelling-release/ Longtime Bopworks guy Steve Schwelling has released a new CD, er...downloadable music thing on whatever format you would like. Nicely done, Steve...

more info on:

https://www.facebook.com/suspendersofjudgement/

Check it out on ITunes

https://itunes.apple.com/us/album/maintain/1450316051

:

]]> Longtime Bopworks guy Steve Schwelling has released a new CD, er...downloadable music thing on whatever format you would like. Nicely done, Steve...

more info on:

https://www.facebook.com/suspendersofjudgement/

Check it out on ITunes

https://itunes.apple.com/us/album/maintain/1450316051

:

]]> <![CDATA[And, a belated Happy New Year to you all...]]> https://www.bopworks.net/blog/and-a-belated-happy-new-year-to-you-all/ Tue, 26 Feb 2019 21:52:51 +0000 https://www.bopworks.net/blog/and-a-belated-happy-new-year-to-you-all/ Things have been chugging along at Bopworks, and although I wish we had something exciting and new to offer... Nope.

But, we have been adding some great players to the Artist Roster, and as soon as I can get the new layout up you'll get to see the specifics.

]]> Things have been chugging along at Bopworks, and although I wish we had something exciting and new to offer... Nope.

But, we have been adding some great players to the Artist Roster, and as soon as I can get the new layout up you'll get to see the specifics.

]]>