Dr. Eric Binder, originally from Hudson Valley, New York, currently calls Chicago home. He is recognized for his unique sound, and approach, that is deeply rooted in the history and tradition, of the swinging music of the 1940s-1960s.
Binder’s playing can be heard on over a dozen records, spanning from trios and duos, to quartets and more. Most notably, his time playing and recording with the late Malcolm Cecil, producer for Stevie Wonder. In addition, Binder has played and/or recorded with Walter Smith III, Joel Frahm, Petros Klampanis, Clint Holmes, Michael Davis, Christos Rafalides, and others.
Binder is an accomplished author having published five books (as of 2021). His 2019 publication “10 Snare Drum Etudes for Improvisation,” was voted #3 Best Method Book in the Modern Drummer Magazine 2020 Readers Poll. In addition, Binder has had other various original musical works, articles, and interviews published.

This is a fun clinic that I have presented at the Chicago Vintage and Custom Drum Show. The clinic features an in-depth discussion and performance around coming as a drummer. Many musicians do not understand what it means, or how to comp as a drummer. I discuss comping from its inception through modern times. I demonstrate each era and style with a trio. Additionally, I bring audience members up to sit in and try some of the concepts. I have written 3 books on this topic.

Short sample of topics:
Simply put, comping is accompanying.

In the style we are going to discuss, comping refers to the “call and response” conversation that takes place between the drummer, soloist, and rhythm section.

As this improvised music evolved and developed, the role of the drummer evolved as well.

Comping, in the early years of this music, in new Orleans sounded something like this…(demo press roll comping).

Early trap set pioneers like Baby Dodds, Zutty Singleton set the stages for us with their accompaniment behind greats like Louie Armstrong and Sidney Bechet.

Swing drummers took the next steps, incorporating what we know as the “traditional ride beat” on small cymbals, and of course, the hi hat. Drummers like Chick Webb, Big Sid Catlett, and Cozy Cole would “comp” with “four on the floor” in the bass drum, “ride beat” in the hi hat, and catching hits with the snare. (demo swing style groove)

Drummer Papa Jo Jones took the syncopated ideas, normally in the snare, and used them to accentuate and break up the “traditional ride beat” (demo syncopated hi hat ala jo jones)

As the swing era progressed into a more commercial arena, young musicians were searching for a more creative…music for the music. Not meant for dancing. The music was more rhythmically aggressive. More complex harmonies, and faster tempos. This “new” music, bebop, lead to a more elevated role for the drummer. Kenny Clarke is credited with the style of comping we now consider standard.