London based, Professional and enthusiastic drummer with over 15 years of experience, Superior Jazz Degree, teaching drums in London.

Find out more about Jose Rico

• 1) When did you first develop a passion for music and your favourite instrument?

  I’ve been passionate about music for as long as I can remember. I grew up surrounded by my father’s extensive vinyl collection—he owned a record shop, so music was a constant presence at home. From an early age, it felt like home to me. It came easily, almost instinctively, and it quickly became the way I made sense of the world.
  
  At 13, I formed my first band, Cicely, and we started performing original Pop-Rock songs around Toledo. That journey eventually took us to some of Madrid’s best-known venues, like Café La Palma, Sala El Sol, and Moby Dick, and it was during those years that my connection to music really deepened. Drums became my favourite and main instrument, but I love playing guitar and bass too—they each offer something unique and expressive.
  
  Beyond performance, I’ve always felt that music brings out the best in people—it connects us, inspires creativity, and offers a healthy outlet for emotion, self-expression and fun. Personally, it keeps both my mind and spirit sharp.

• 2) Is there a particular type of music or artist that you listen to on a loop without it driving you crazy?

  As a musician, my favourite style is generally jazz or anything jazzy. I’m drawn to the creativity, complexity, and groove that jazz offers. That said, I enjoy playing and listening to all kinds of music—every genre has its own value and something unique to offer.
  
  For me, it’s less about the style and more about the feeling and energy behind the music. If it connects with me, I can listen to it on repeat without ever getting tired. Whether it’s jazz, rock, pop, or something more experimental, I appreciate great music in all its forms.

• 3) Explain to us the most difficult or riveting course you could personally give to a student of music.

  For me, the most important and rewarding course I could offer centers around helping students find their own unique voice in music. It’s not just about mastering technique or theory—it’s about discovering your own way, your personal influences, and developing your own sound.
  
  To achieve that, students need a solid foundation in many areas: music theory, sight-reading, technique, and more. But beyond that, I encourage them to become their own teachers by learning how to explore, experiment, and grow independently. Listening to a wide variety of music styles is a key part of this journey—it opens the mind and fuels creativity.

• 4) What do you think is the most complicated instrument to master and why?

  I think every instrument has its own challenges, depending on how deep you want to go. But if I had to choose, I’d say the voice is probably the most complicated to master. It’s the only instrument that’s completely internal—there are no strings, keys, or sticks. You are the instrument. That makes it incredibly expressive but also very delicate and unpredictable.
  
  That said, instruments like the drums or the piano can be just as complex in their own ways. Drums, for example, require deep coordination, timing, and independence between limbs, while also demanding a strong feel for groove and dynamics.
  
  At the end of the day, the hardest instrument is the one that forces you to confront your weaknesses and grow. Mastery is about going beyond technique—it’s about developing your voice, regardless of what instrument you play.

• 5) What are your keys to success?

  For me, success in music—and in life—is about consistency, curiosity, and honesty with yourself. You need to be committed and put in the time, even when things get tough. But at the same time, you have to stay curious: keep listening, keep learning, keep exploring new sounds and ideas.
  
  Another key is being true to who you are. Don’t try to be someone else—develop your own voice and trust your instincts. That’s what gives meaning to your music and makes it stand out.
  
  Also, I believe in balance. Practicing technique, understanding theory, playing live, listening actively—all of it matters. And maybe most important: enjoy the process. If you love what you’re doing, the rest will follow.

• 6) Name three musicians you dream of meeting in your favourite bar in the early hours of the morning. Explain why.

  Miles Davis would be at the top of the list. His fearless creativity, constant reinvention, and deep understanding of space and mood in music are endlessly inspiring. I’d love to hear his thoughts on how he approached change—not just in music, but in life.
  
  Tony Allen would be another must. His drumming was pure groove and personality—so minimal, yet so expressive. I imagine talking to him about rhythm would feel like learning a new language. His feel was unmatched, and his perspective on time and flow would be incredible to explore.
  
  And then I’d want either Elvin Jones or Brian Blade at the table—both monumental drummers, but with very different spirits. Elvin, with his power and momentum. Brian Blade, on the other hand, brings such a lyrical, emotional touch to his playing. Either one would bring a very human, deeply musical insight to the conversation.
  
  Sitting with those three in the early hours, sharing stories and rhythms over a quiet drink—that would be a dream night for me.

• 7) Provide a valuable anecdote related to music or your days at music school.

  One of the most valuable lessons I’ve learned didn’t happen in a classroom—it happened on stage. I was still a teenager, playing with my first band Cicely, and we had a gig in a small venue in Toledo. Just before we started, the sound system started acting up. The monitors were useless, and we could barely hear each other. It felt like a disaster waiting to happen.
  
  But once we started playing, something clicked. We stopped thinking and started listening—really listening to each other. We adjusted instinctively, locked in as a band, and by the end, the energy in the room was incredible. People didn’t notice the technical problems. They just felt the music.
  
  That night taught me more than any theory class ever could: how important it is to trust your ears, trust your bandmates, and let go of perfection. It’s not about everything going right—it’s about how you respond when things go wrong.

• 8) What are the little touches that make you a Superprof in music?

  I believe it’s the small, thoughtful details that turn a good lesson into a great one:
  
  Personalized warm-ups: I always begin by checking in on how my student is feeling—physically and emotionally—and tailor our warm-up to match. Whether it’s a groove to get the blood flowing or a gentle hand-stretch for drum technique, it sets the tone.
  
  
  Contextual examples: When introducing a new concept, I’ll pull in a real song or recording—sometimes even a student’s favorite track—to demonstrate it in action. It bridges theory and practice instantly.
  
  
  Creative assignments: Instead of just exercises on paper, I give “mission-style” tasks: learn a 4-bar groove and then use it to build a short drum solo, or transcribe a lick and flip it around stylistically. It keeps motivation high.
  
  
  Recording and feedback: I encourage students to record themselves—on their phone or computer—and then we review together. It builds critical listening skills and helps them hear progress in real time.
  
  
  Flexible pacing: Some days we blast through material; other days we linger on small details. I’m always responsive to a student’s needs, whether they need extra encouragement, a creative challenge, or a moment to just play for fun.
  
  Real-world insights: Drawing on nearly three decades of gigging, I share timing advice, band communication, and stage presence.
  
  These little touches—rooted in empathy, creativity, and real-world experience—are what transform lessons into lasting musical growth and genuine excitement.