Zachary Bostic: Preserving Tradition and Sound Through Drum Restoration at CARIFESTA XV

The first strike of a drum can change everything in the music arena. It can rouse a festival crowd, guide a masquerader through the street or even calm a student under exam pressure. That vibration runs deep, but behind the sound is more than the drummer’s skill. Rather, it depends on the hands of those who keep the instruments alive.

Among those hands are Zachary Bostic’s. As a percussionist and craftsman, he has built a reputation for carefully restoring drums to their best condition. His process begins with listening. “Each client is different. You might have a professional player or someone who just wants a high tempo. So I make sure to ask the important questions like what is your purpose? What type of skin are you interested in? For me my preference is goat skin and it’s great but for someone else they might have another preference. Through asking questions and finding out their purpose and what they expect as a result makes it more efficient when I begin the process. In terms of assessment by me, the first thing I check is the condition of the wood and the drum itself, make sure it does not need any sanding. That is probably one of the most important things. I also check the ropes and condition of the skin. With all the information then it is more effective process when I start the job.” Choosing the right skin, he added, is never random. “In my workshop, I have variety of options from goat, deer, camel and so on and they all carry a sound of their own. So it should never be about just aesthetics but the ultimately the overall quality of the repair to achieve the best sound for the musician.”

When it comes to repairing a drum, even with care, repairs often bring surprises. Therefore, it often means looking beyond the surface where small cracks may hide in the wood, only showing once tension is applied. “That is one of the most challenging repairs. You fill it, you sand it, you test it. And the weather is also a big component because if the drum gets wet or if it is not solid, the skin won’t hold. And when the skin bursts, that is the worst feeling because you have to start over,” he said. Still, he finds joy in such tests. “Just a few days ago I burst the skin on my personal drum and with CARIFESTA events happening it was critical that I did the repair. So I went about my usual style and everything was going great until I got on the last pull of the rope. It was at this moment that it burst again. It is these types of experiences while having the know how to fix it that makes it all worthwhile, bringing about the best memories and stories.”

Bostic believes what sets him apart is his mix of tradition and technical knowledge. He said “while I use traditional methods – because we tend to stick to the principles of drum repair – it is important to know the instrument. Having that knowledge of what is missing and what to do next its important. So people might say I have different techniques but truthfully, having that background knowledge of the instrument, what to do and what suits it best is part of it. In addition, I always try to get the maximum sound level. Some people might want it tight with a high tempo, some people might want it low with more bass. The aim is to strike that balance so when they hear it, they feel satisfied.”

Zachary Bostic among the drums he restores, showcasing traditional craftsmanship and care.

For Bostic, drum repair is about more than tone and the sound of instrument. And while that is important, for him it is more about the preserving the history and culture of the arts. “As a percussionist and craftsman in the arts, I know that if people can’t get their drums fixed then they will stop playing. So being able to repair the drum keeps the industry up and active. But if the repairs stop, then we will see the tradition begin to fade. So the service has to be there, whether for the masters or the juniors just learning.”

That connection and commitment also extends to the younger generations within his classrooms. Bostic has taught many young people, watching rhythm help them manage life’s pressures. “It gives them balance so I would advise parents and guardians of children in the arts to never let them stop, especially around exams. I have seen students improve academically, shocking their parents, soon after joining drumming classes because ultimately it helps with the stress and give them an outlet to be free in a sense.”

Ultimately, for him, the work is not about guarding secrets but about keeping rhythm alive. He said “It is a market where others should come in respectfully. Because at the end of the day, it’s about keeping the tradition strong, not just for me, but for everyone who loves the sound and who genuinely wants to make music. Therefore, with an influx of passionate people in the industry then we can continue to grow. We once had a drum festival and I would love if we can have interest that high so we can bring back something similar. ”

In concluding, his advice to future drummers and craftsmen is direct: “Understand what you’re doing first. Learn the tools, the proper tuning and respect the sound. It is not only about the aesthetics but giving the drum back its voice. It can be a lucrative industry because drum repairs can be expensive. But to those joining the industry, don’t simply make it about money.”

As CARIFESTA XV celebrations continue to highlight the creativity of the region, the beat of the drum remains central. And behind that beat, restored with patience and care, is the quiet craft of Zachary Bostic — percussionist, craftsman and the keeper of rhythm. (PR)